Festival 2026 Week 2 by List Publishing Ltd

1219 AUGUST 2026 | WEEK 2 LIST.CO.UK/EDINBURGHFESTIVAL

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Bel Gregor Fisher Conk Sean Shibe Takashi Miike Four Walls And A Roof Sidi Larbi Cherkaoui Slay Ninon Noiret Collaborator

COOL AS ICE Pucker up for the sizzling Heated Rivalry parodies

‘THE BIGGEST NEW MUSICAL OF THE EDINBURGH FRINGE’ WHATSONSTAGE

ONCE UPON A TIME, THERE WAS A PRINCESS. WHATEVER THAT MEANS...

PLEASANCE COURTYARD | 1PM 5 - 31 AUGUST 2026 BLISSTHEMUSICAL.COM

2 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

FROM THE P R OF CABAREODUCERS BENJAMIN T & BUTTON

CONTENTS

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FESTIVAL 2026 | WEEK 2 | LIST.CO.UK/EDINBURGHFESTIVAL

BY THE END, NO ONE’S CHECKING THE CLOCK ONE MAN. ONE SONG. ONE

FRONT & FEATURES Insider Frisky on sobbing at sticks and comedy masters

Good Enough? Back to basics and baring it all

ART The Legacy Of Slavery Powerful storytelling confronts dark days

Gwen John Understated masterpieces from Welsh visionary

BOOKS

HOUR. FIVE STARS

Female Sexuality Debating the pain and the pleasure

Memoirs Self-reflection at the Book Festival

CABARET

PAGE 56

Cray Cray Cabaret Outrageous fun with Phil Nichol

Reuben Kaye Killer heels, killer show

COMEDY David Elms Room to let his imagination run wild

Rosie Jones Tits and troll-trashing

DANCE & CIRCUS Yuck Circus Naughty noughties homage

360 Allstars Epic street-style skills

FILM These Violent Delights Shakespeare’s Juliet balletically reborn

Extra Geography Desire and envy in boarding school drama

KIDS

PICTURE: MADELINE ROYCE Extensive efforts have been made to ensure the accuracy of the information in this publication; however the publishers cannot accept responsibility for any errors it may contain.

Max Fulham Daft and dazzling monkey business

MUSIC

COVER PICTURE: BLAKE EIRMANN

Published in August 2026 by List Publishing Ltd 2 Roxburgh Place, Edinburgh EH8 9SU Tel: 0131 623 3040 list.co.uk editor@list.co.uk

Darryl J Carrington Box-fresh clowning

©2026 List Publishing Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying,

Theon Cross Sexing up the tuba

Acid’s Reign Camp five-star climate cabaret

THEATRE Corpse Kirsty Mann delivers spectral hilarity

Badgers Myth, grief and true crime collide

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recording or otherwise without the prior permission in writing of List Publishing Ltd. ISSN: 0959 - 1915 Printed by Acorn Web Offset Ltd, W. Yorkshire

HOT SHOTS Sex, kink and smiles

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FESTIVAL DATES FOR YOUR DIARY

EDINBURGH ART FESTIVAL 14–30 August edinburghartfestival.com

EDINBURGH INTERNATIONAL BOOK FESTIVAL 15–30 August edbookfest.co.uk

e m o c l e W All the fun of the fair is here in Edinburgh right now. Pop into town and wherever you look are artists, flyerers (or is it flyerists?), many tourists and some locals, while the air is filled with the distinct aroma of dreams being made or smashed into smithereens. Could just be the hops wafting across, mind. Our critics have been out there milling with the hordes and squeezing into seats in bespoke theatres and makeshift huts to bring you the shows that are gaining some traction early on. A guy singing the same song over and over again for one hour to get laughs? Could be a love or hate thing. We went for the former. A married couple in their 40s risking injury on the high ropes for their circus swansong? We loved it. For those who think this part of the month is all about getting star ratings slapped up on posters, we’ve got plenty of non-review things happening in this issue. We won’t claim to be the first humans to have spotted that there are three Heated Rivalry parody shows at the Fringe, but it felt like an irresistible cult moment we had to latch on to. The tragic story of Beldina Odenyo is captured in the documentary which closes the Film Festival: we chatted to its director. Gregor Fisher is making his one-man Fringe debut and has promised not to indulge in too many digressions on stage (we’ll see). And we look at two very different dance shows: Sidi Larbi Cherkaoui’s Ihsane, based on a homophobic murder in Belgium, and the frenetic Good Enough? from the people who brought you Mass Effect and Champions. The carousel has started. Hop aboard.

Brian Donaldson EDITOR

EDINBURGH INTERNATIONAL FILM FESTIVAL 13–19 August edfilmfest.org

CONTRIBUTORS

Writers Afreka Thomson, Allan Radcliffe, Ananya Patankar,

Business Development Manager Lachlan McMaster

Brian Donaldson, Claire Sawers, Danny Munro,

Art Director Seonaid Rafferty

Head Of Marketing & Events Leah Bauer

Sullivan, Isy Santini, James Macfarlane, James

Subeditor Paul McLean

Marketing & Events Executive Eve Johnston

Kevin Fullerton, Lauren McKay, Lucy Ribchester,

Print & Digital Content Manager Murray Robertson

Marketing & Events Assistant Paighton Scott

Paul McLean, Rachel Morrell, Robyn Bell, Steven

Editor Brian Donaldson

EDINBURGH INTERNATIONAL FESTIVAL 7–30 August eif.co.uk

Publishing Assistant Juliette Pepin

Online News Editor Kevin Fullerton

CEO Sheri Friers

EDINBURGH FESTIVAL FRINGE 7–31 August edfringe.com

Head Of Commercial Jayne Atkinson

Dominic Corr, Eddie Harrison, Gareth K Vile, Gary Mottram, Jay Richardson, Jo Laidlaw, Kelly Apter, Megan Merino, Murray Robertson, Neil Cooper, Andrew Brown, Suzy Pope, Zara Janjua

READ OUR FESTIVAL COVERAGE ONLINE

Plexus Polaire presents

From the award-winning creators of Moby Dick (Barbican)

Directed by Yngvild Aspeli

‘Hypnotic masterpiece’

Chicago Reader

6–29 AUG • 5:30PM

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 5

FRONT

Diary

FRONT

an you imagine what people say about comedy critics behind their back? What four-letter expletives has Brian Logan been called in the green room of The Stand? How do comedians really feel about Steve Bennett of Chortle? You needn’t look far for the answers to those questions. Plenty of comics’ Instagram accounts (mainly the comments sections) are loaded with barbed critiques of the country’s most well-known opinion slingers. And you know what? They’re not impressed. One comment online from **** claims that all critics have been known to s** on a** and **** in each f****** while taking ****** from a small goat, which is illegal in most countries (editor’s note: the previous sentence has been censored for the sake of Mr Kevin Fullerton Jnr’s career). I’m nowhere near well-known enough to receive the same degree of casual opprobrium, but I’ve heard a handful of grumbles from PRs who feel their acts weren’t well represented. The criticism is more than welcome and, on occasion, fair enough; if you’ve weaselled your way into a job that involves sitting in a dark room judging art, people on the receiving end of your opinions are well within their rights to have a go back. I set up an email address specifically so that people can send in genuine, full-throated abuse either about me, other

In his first diary of the season, our resident columnist Kevin Fullerton meditates on a few shows with their knives out for comedy critics reviewers or really anything that dissatisfies them. The address is givekevinakicking@hotmail.com if you want to let off some steam. I may cry but I am happy to be the sewerman for your star-rating troubles. Critics are inevitably the villain of any creative endeavour, so it’s surprising that a wellspring of shows about bastard comedy reviewers hasn’t arisen before. Chief among them this year is Adam Riches, a man who’s turned invasive crowd interaction into some of the most fun you can have at the Fringe. The Critic’s Way is a portrait of Caliban Munroe whose accent sounds like Mark Cousins shouting through a loudspeaker. He’s also an embittered caricature of every awful critic you’ve ever read, only matched in his laziness by a dislike of comedy itself. Andrew Doherty’s Reviewers Welcome . . . To Die!, meanwhile, is a very different brew, framing its show around an objectionable three-star critique which Doherty hates enough to write an hourlong takedown/horror flick based on the reviewer, a coked-up posh-boy virgin whose ignorance towards anything outside of London is only matched by his startling lack of imagination. Whether you’re an industry hack or not, both shows are well worth seeing. But for those doling out star ratings, they present an interesting cautionary tale: get into reviewing for the wrong reasons and you might become one of these creeps.

In this weekly series, we ask Edinburgh Festival veterans which shows or performers have touched their hearts or pushed their buttons. This time around, cabaret singer, MC and comedian Frisky spins the wheel to tell us which things . . . Made me cry: I remember Stick Man, an adaptation of the Julia Donaldson book, reducing me to absolute rubble in the Cow. It was before I was a parent, so probably just being awake for a 10am show may have been a factor. But man, that stick really wanted to see his family again . . . not for the fainthearted/hungover. Made me angry: Dangerous Goods at last year’s Fringe was a powerhouse of feminine rage. Incredible, high-skilled variety acts, delivering searing political commentary, covering colonialism, misogyny and the state of the world. It was impossible not to join their primal scream and leave ready to (figuratively) burn some shit to the ground. Made me laugh: There are so, so many, but a really memorable one would be Jason Byrne around 2005, before I was doing any comedy myself. He got my then 23-year-old and 6ft tall brother on stage, and attempted to lift and weigh him like a baby. Jason is the absolute master of making you feel like the audience are the ones who are insane and that this performance is the craziest he’s ever done. I don’t think I’d laughed like that before, or maybe since. Made me think: Around 2011, Ruby Wax had a show called Losing It with songs by Judith Owen. It was one of the first that I remember really honestly diving into mental health, both anecdotally and discussing the science of it. It was characteristically packed with bristling wit, but the songs were very raw and moving, and it really made me think about my perspective on mental health at the time. Made me think twice: I watched Stewart Lee do a spot at Spank! where he did no material but simply commentated on the reaction of the room, splitting them into two halves; it became a tennis match of the human need for approval. I learned almost everything I needed to know about comedy, crowd work and audience psychology in those ten minutes. Ta, Stew.  Frisky’s Remix Roulette, Assembly St Andrew Square, until 30 August, 8.30pm.

festival insider 6 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

FRONT

If you look really closely, you may be able to recognise staccato-voiced satirist Andy Parsons (left) and acclaimed theatre guy Henry Naylor (on the right hand side). We didn’t name them on the cover but there they indeed are: comic double act Parsons & Naylor made to look like little trolls. It’s 1996 and the big names are rolling into town. We chatted to Miranda Richardson about her one-woman Orlando at the International Festival and met Ardal O’Hanlon as he tried to shake off the empty-headed priest he played in Father Ted and reinvent himself as a thoughtful stand-up. And ahead of appearing at the Film Festival, David Cronenberg prepared to walk the gauntlet as critics and audiences recoiled in disgust at his controversial sex/car/body-horror film Crash.  Head to list.co.uk/magazine-archive for our past issues.

weir d pic of the week

PICTURE: PAUL REICH BLOODY SCOTLAND

Tony Kushner’s Angels In America, set in the 1980s during the rise of the Reagan administration and the HIV and Aids epidemic, is not a period piece. Life, death, love and sex are enduring themes, as is homophobia, internalised and otherwise. Add lawyer Roy Cohn (Trump’s mentor), a gay man ruthless in hounding fellow gays during the Lavender Menace scare, and you have a play for our times. I haven’t been able to get the 2024 production of International Theater Amsterdam’s Oedipus out of my head so I’m nervously anticipating this epic five-hour production at the King’s Theatre.  Louise Welsh: The Cut Up, 18 August, 5pm; Celebrating Zoë Wicomb (with Chitra Ramaswamy), 25 August, 3.45pm; both events at Edinburgh Futures Institute; Angels In America, King’s Theatre, 15 & 16, 18 & 19 August, 6pm; 20 August, 1pm.

from the

Festival folk choose one Edinburgh show that is leaving them giddy with excitement. This week, it’s author Louise Welsh

festival archive

TIP OF THE WEE K

As a platform for oddness, errors and calamities, The Worst Record Covers In The World exhibition, as curated by Steve Goldman, is quite the trove. Here, he regales us with the story of what can go horrifically wrong when a communication breakdown occurs somewhere down the chain Battleaxe: Burn This Town This looks like a rough proof drawing of the final version . . . and that’s exactly what it is. For the cover of their debut album, heavy metal band Battleaxe wanted a motorcyclist in front of a burning rendition of their native Sunderland. One of their artist mates painted a rough and ready version to send to the record company for their approval. He would then render, to a much higher quality, the final version. Imagine everyone’s surprise when the record company actually used, without their approval, the draft cut as the final version . . .  The Worst Record Covers In The World will assault the senses all day long at Assembly George Square Studios, until 31 August; see more catastrophes at instagram.com/worstrecordcovers

Play List Festival month is in full swing and we have you covered with a jampacked mag of raucous ramblings, titillating takes and the occasional serious consideration. Wrap your ears around songs by Heir Of The Cursed, Beyoncé, Dodgy, Jimi Hendrix, Turnstile, Madonna, Phoebe Bridgers, Theon Cross and others that have either very strong or rather tenuous links to this issue Scan and listen as you read: list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 7

PICTURE: EJAY FREEMAN

PARTY

8 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURES (UNLESS OTHERWISE CREDITED): JENNIFER FORWARD-HAYTER

he List Festival Party is our fired-up start to Edinburgh Festival season, showcasing some of the most exciting acts you can see across Scotland’s capital this month. Whether you’re craving cabaret, live music, thoughtprovoking theatre or cutting-edge comedy, the night is a reminder that there’s no end to the fun you can have in Edinburgh in August. While we recover from another epic event, a heartfelt thank you is in order. Without everyone listed below, the party would not be possible. Thank you to our generous sponsors Hendrick’s Gin, Monkey Shoulder, Beavertown, Cheez-It, IV Seltzer, IOLLA, House Of Oz, Adelaide Fringe, Pure Life Plus, Dishoom and our ticketing partner Humanitix. Special thanks to the team at YourScene for helping to programme a spectacular evening, and to Summerhall for once again allowing us to take over their iconic venue. A well-done to our events team Leah Bauer, Eve Johnston and Paighton Scott who have been working hard behind the scenes, as well as their crew present on the night. Now to the many acts that kept us entertained all night long (well, until 3am): our hosts Aidan Sadler, Jeromaia Detto, Crudi Dench and Eva Peroni; and performers Daddy, Taiwan Season: UNDER MASK, FUCCBOIS: LIVE IN CONCERT, Frisky’s Remix Roulette, Tether, An Evening With Dame Granny Smith, Charlene Kaye: Diversity Shredder, My Grandpa Doesn’t Follow Me On Instagram: A Guide To Trans-Generational Road-Tripping, How Not To Make It In America, Coco The Time-Travelling Tart, CVNT, B48Y Crash Lands On Earth!, 2ShoulderPads: Galaxy Train, BIRDS: Alex Hines And Sarah Stafford, Big Gay Afterparty, Millicent Sarre Is Too Tired To Smash (Patriarchy), Tell Me, Mary Mac – Hail Mary: The Tartan Songstress, Acid’s Reign, JULIUS CAESAR VARIETY SHOW, Claire Robin: Nun Slut, Man Sings The Same Song Over And Over Again For An Hour, Ifrah Qureshi: 48 Flaws Of Power, Linus Karp Was Hit With An Umbrella, Sam Morrison: DUCK, YUCK Circus, KINDER, Francisco de Nata, Baby Lame: Hit Me Baby One More Lame!, Harvey Cobb: Pink Boots And An Alcoholic Sock Puppet, Smile: The Charlie Chaplin Story, Peregrinations, Puss Puss, Jill's Tupperware Party, The Waiter, An Evening With Gerald Lloyd Davies, Goose's Big Game Show and The Nightlark who kept us dancing until the wee hours. Also, give a round of applause to our DJs in the Library Gallery. Spinning the decks were philomenah, Sacred Keys and Pako Vega as part of the Ascetic Practices takeover. Special shoutout to the rebirth of our I SAW YOU column that made its first appearance since December 2014 to help you forge new connections on the night. Thanks to IOLLA for helping bring this column back to life and BLUR Productions for helping everyone capture the party with their fabulous photobooth. Finally, a massive shout out to Silent Adventures’ silent disco experience and Face Painting By Laura for making things all the more vibrant and Wanderers Kneaded for serving up its pizzas. And thanks to everyone who came along; your vibrant presence makes the night extra special. The #ListFestivalParty has once again kicked off your Festival in style. Catch you at the next blowout in 2027.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 9

DRAG IHSANE SPECIAL XXX

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People in Belgium killed perfection

10 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: RAHI REZVANI

Part elegy for a murdered man, part funeral for his father, Ihsane brings together a kaleidoscope of influences to honour BelgianMoroccan choreographer Sidi Larbi Cherkaoui’s North African heritage. He talks to Lucy Ribchester about bonding through grief and why it’s vital to share experiences

PICTURES: FILIP VAN ROE

IHSANE

n April 2012, Ihsane Jarfi, a 32-year-old Belgian-Moroccan, was heading home after a night out at a gay bar in Liège when he was abducted, brutally attacked and murdered. The four men responsible were convicted in Belgium’s first recognised case of homophobic murder. It was a landmark trial and made a huge impact on choreographer and dancer Sidi Larbi Cherkaoui, also Belgian-Moroccan and living in Belgium at the time. ‘I remember feeling really connected to this story, because it could have been me,’ Cherkaoui says over Zoom from his home in Geneva. ‘I was the same age. I was also half Belgian, half Moroccan: his mother is Belgian, like mine, and his father is Moroccan, like my father. And so I was very moved by his reality. He was also a queer man, just like me. As I went deeper into the story, I was really moved by his name, by the fact that he was called Ihsane, which means perfection. So people in Belgium killed perfection. There was something almost biblical about this whole situation.’ The word ‘Ihsane’, as Cherkaoui explains, has a rich and multilayered meaning in relation to Islam, where it stands for a connection with everything in existence. For a choreographer who works through the medium of physical expression (bodies connecting to other bodies and to the wider world) this has particular resonance. When Cherkaoui began creating a piece to honour his Moroccan and Muslim heritage (his father was Muslim), Jarfi’s story became inextricably interwoven into it. Cherkaoui invited Jarfi’s father Hassan to Switzerland to watch rehearsals, and the two bonded over their shared experiences of loss and hope. ‘He lost his son and I lost my father when I was 19,’ Cherkaoui explains. ‘I saw who my father could have become with time and I think

he saw who his son could have become with time, and so there was a very emotional exchange.’ Cherkaoui had a difficult relationship with his father in his final years and didn’t attend the funeral. In some ways, he says, Ihsane has become a substitute funeral for him. ‘It’s like a ritual that I’m putting on stage through movement, through dance, with all the things that you would have at a funeral: the flowers, the ascension of the body up to the light, all the symbolism in it.’ Yet despite its solemn influences, he stresses the work is also an uplifting one. ‘It’s a piece full of colours and full of light, which I also did very consciously. It’s a piece about nostalgia, about the time I knew my father, which was only when I was a child. So it’s a very childlike work.’ Hearing Cherkaoui talk about the kaleidoscope of ideas that came together, you begin to understand why Ihsane is the perfect name. The piece unites everything Cherkaoui remembers, feels and loves about North African culture, from the sunlight and metallic colours of the clothing, to the music and traditions of hospitality. Many of the key artists he chose to collaborate with are also of North African heritage, such as Moroccan designer Amine Bendriouich, and Tunisian composer and viola d’amore player Jasser Haj Youssef. And if European audiences aren’t able to grasp all the nuances or language in the piece, that’s ok, says Cherkaoui. ‘I always tell the audience, “look, I’m sorry you don’t understand, but honestly, that was my whole childhood. I didn’t understand anything as well”.’ It’s the experience of sharing that forms the genesis of understanding and that is the route away from prejudice. ‘I think Moroccan culture is incredible that way,’ says Cherkaoui. ‘It’s one of those cultures that doesn’t mind offering itself up to others.’ Ihsane, Festival Theatre, 18–20 August, 7.30pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 11

ADVERTISING FEATURE

festival showcase

Whether you want to laugh or cry, sing and dance, or marvel at the wonders of the human body, you’ll always find the perfect show at the Edinburgh Fringe. Explore our showcase and get booking!

THE PASSION THEATRE & DANCE

Space Niddry Street 17–22 August, 4.50pm lampscollective.com The Passion follows three very different individuals in the week before the first Easter. First century Judea: occupied territory. It’s Passover, tens of thousands descending on Jerusalem for the festival, excitement at fever pitch. Roman officer Marcus is detailed to monitor one man in particular: Jesus of Nazareth. Dismissive of a movement so misguided and naive, and baffled by its unpredictable leader, Marcus is caught up in events that defy any logical reporting. Similarly embroiled are a woman who owes this man everything, and the young fisherman who loves him – just not quite enough to stand by him.

I BOUGHT A FLIP PHONE THEATRE & DANCE

Zoo Playground 7–30 August (not 19, 26), 3.35pm zoofestival.co.uk/programme/ i-bought-a-flip-phone Charlie’s sick of his iPhone. His best friend never replies, his mum nags him and everyone else’s life looks better than his own. Sick of scrolling, for his 27th birthday he’s buying an old-school flip phone. No more five-hour screen time days. That’ll fix everything . . . won’t it? ‘Stop doing what you’re doing. Book the ticket. You won’t be disappointed.’ AAAAA (A Young(ish) Perspective)

A MAN PROPOSES TO A BALLOON, OR POSSIBLY SOMETHING WORSE THEATRE

Gilded Balloon Patter House 15–31 August (not 24), 1pm tickets.gildedballoon.co.uk Mikey’s decided two things: he’s ready to propose to his partner and he’s going to practise his proposal speech on a balloon first. Coming to the same park bench every day, a strange relationship develops and soon the balloon starts talking back to him. Written by standup comedian and So You Think You’re Funny finalist, Mark Daniels, this dark comedy is a story of love, loneliness and a gay man’s relationship with his city. Oh, and it’s also about a passive aggressive bitch of a talking balloon.

TO DO LISTS THEATRE & DANCE

Pleasance Courtyard 5–31 August (not 12, 17, 26), 5.15pm pleasance.co.uk/event/do-lists Ever since she can remember, Amy has written a to do list. And every day she must get through it to meet her goals. Until one day, she is forced to ask herself, what does it mean if you can’t complete your to do list? Who are we without them? It’s time she gathers the mounting years of to dos and comes face to face with the truth. Obsession, grief and the rocky transition from childhood to adulthood: join Rainy Day Theatre for an hour of confession, warmth and laughter. ‘A writer to keep an eye on’ (The Stage)

AAAAA (North West End)

12 THE LIST FESTIVAL | 12–19 August 2026 ||list.co.uk/edinburgh-festival list.co.uk/edinburgh-festival

MEET MAYOR MAX THEATRE & DANCE

Pleasance Courtyard 5–31 August (not 17), 12.30pm alex-robins.com/meet-mayor-max Max is the Mayor of Idyllwild, California. He’s also a golden retriever. Follow a UK playwright as he travels to a USA mountain town for the singular purpose of meeting their four-legged leader. Together, they have one goal: peace on Earth!This eccentric documentary-theatre show charts the impossible-to-believe rise to office of one unlikely underdog who has become a symbol of community, healing and unconditional love. He might just change your life! Shake paws with the world’s friendliest politician. A play by Mayor Max’s number one fan.

5 HEADLINERS FOR £10 COMEDY

Hoots @ The Apex, Hoots @ The Wee Red Bar and Just The Tonic At The Caves| 7–31 August | Daily at 1.30pm, 3.50pm, 6pm & 7.30pm rgb.monster/headliners Five top-level stand-up comedians and strictly no picking on the audience! The biggest-selling line-up show at the festival, now with four daily performances and four different casts of headline-level acts. No MC asking you where you’re from, and no banter with the front row: stand-up comedy as it should be. A great way to have a giggle, many festival-goers use these shows as a way to discover new acts, all of which have solo shows in their own right.

VISUAL ART & LITERATURE

DEAN FRIEDMAN:

SONGS FOR GROWNUPS MUSIC

Scott Lawrie Gallery 1–28 August, 11am–6pm, Mon–Sat scottlawrie.com

New Town Church 15 & 16 August, 7.30pm DeanFriedman.com

Jake Chapman has spent more than 30 years sticking his fingers into the flabby bits of western culture: art, taste, morality, capitalism, war, and our misplaced faith in a civilisation running towards extinction with a smile on its face. Ah well, the horror might be real. But so is the comedy (Chapman is clever enough to know they are two sides of the same coin). This is a small show with a big pulse from one of the YBA’s most intellectually rigorous and confronting artists. Be prepared for your favourite ideologies to be blown up . . .

Don’t miss this rare performance by a legendary singer-songwriter. Hear hits like ‘Ariel’, ‘Lucky Stars’, ‘Lydia’ and ‘McDonald’s Girl’ live! ‘Soundtrack of our lives!’ (The New York Times) ‘Songsmith extraordinaire’ (MusicWeek) ‘One of the true greats of American music!’ (Liverpool Sound And Vision) A consummate entertainer, Friedman will be performing solo, on guitar and keyboard, featuring songs from throughout his four-decade career, including familiar, radio hits and fan favorites, drawn from his eight studio albums.

15 MINUTES OF SHAME

THAT’S A GREAT DEAL!

THEATRE & DANCE

Zoo Playground 7–30 August, 7.20pm 15minutesofshameplay.com Why not do OnlyFans? Plunge into the desperate world of a young London couple facing the brutal reality of financial struggle. Tired of watching others’ curated success online, they decide to chase the elusive dream of fame and fortune by launching an OnlyFans account. But as subscribers grow, their connection in reality drops. Balancing sharp wit and biting comedy, acclaimed artist Adébayo Bolaji sensationally directs this provocative and unflinching mirror to our times.

COMEDY

Home Bar | 6–30 August, 1.45pm instagram.com/daddy_herwitz

ULYSSES OF SCRANTON THEATRE & DANCE

Bedlam Theatre 7–29 August (not17, 24 & 25), 11am newvintageensemble.com An ensemble of actors rehearse their new production of James Joyce’s Ulysses, but as they progress through the infamously ‘impossible to adapt’ work, they find the line between text and real life starts to dissolve. A theatrical remix of Joyce’s classic novel that keeps the heartbeat of the original while layering in contemporary stories to produce a fast-paced, funny and emotionally direct work. Knowledge of the original book is not essential for enjoyment!

festival showcase

JAKE CHAPMAN: NICESIS

YOUR CHOICE AMANDA ROYCE COMEDY

Want to watch an American dad unravel? Not particularly? That’s fine. Comedian Ben Herwitz doesn’t want that for you either. That’s A Great Deal! is a stand-up show written, directed, and everything else by New Yorkbased comedian Herwitz. Ben tells jokes and stories about his family life and a bunch of other stuff too. You’ll laugh from start to finish.

Zoo Playground 7–23 August (not 17), 5.10pm instagram.com/yourchoiceamandaroyce Tonight, Amanda Royce is detonating her mayoral campaign in sleepy Coulsdon and she isn’t playing nice. This brash and brazen character comedy skewers politics, delivering an audacious, hilarious ride through failure, spicy opinions, hot flushes and maybe even a revolution? It’s crunch time, and armed with big promises and even bigger blind spots, Amanda’s taking on everything and everyone with zero restraint: fat kids, the poor, loneliness and those bloody potholes all collide in her chaotic vision to fix broken Britain. Revolution or self-destruction? You decide.

list.co.uk/edinburgh-festival list.co.uk/edinburgh-festival| |12–19 5–12 August 2026 | THE LIST FESTIVAL 13

Bed fellow GREGOR FISHER

GREGOR FISHER

With the likes of Rab C Nesbitt, Naked Video and now Only Child, Gregor Fisher has been a comedy staple on our tellys for decades. But in his debut oneman Fringe show, he’ll dig into a career that has encompassed plenty of film and stage success too. He chats to Eddie Harrison about tangents, sitcom gold and why he wants an early finish

PICTURE: HAPPY TRAMP NORTH LTD/GRAEME HUNTER

‘I

haven’t been in front of a live audience for years and I forgot that electricity. Even at 72, it puts a bolt right through you,’ says actor and comedian Gregor Fisher ahead of his debut solo Fringe show. The Scottish national treasure is heading to Edinburgh for An (Early) Evening With Gregor Fisher, spanning the highlights of his five-decade career, from playing local anti-hero Rab C Nesbitt to acting alongside Richard Burton in Michael Radford’s film of George 1984 ‘I’m not a stand-up but I’m full of admiration for those who can do Orwell’s 1984. it. Sometimes with an audience, you go down a side street and you’ve got to find your way back to the M8 because you’ve actually gone to Kirkintilloch and didn’t mean to. So every night is different.’ Fringe audiences are international, yet most are likely to be familiar with Fisher’s enduring comic creation Rab C Nesbitt, even a decade since he last played the role. Yet the specific details that might suggest Rab would have a Scots-only appeal also seem to make him a universal comedy figure. ‘One of the best lines Ian Pattison wrote was when Rab is in a hospital, annoyed at not getting the attention he wanted,’ recalls Fisher. ‘He’s standing there with an axe in his head and he whips out his kidney donor card, rips it up and says, “by the way, you can whistle for my kidneys!” There’s something quite west of Scotland about that, but also a real universality.’ On cue, Fisher embarks on one of his aforementioned digressions. ‘I was listening to an interview with Robin Williams, talking about his role in The King a guy hallucinating, going through all sorts in his head. He was Fisher King, filming on location in New York, near the Port Authority bus station. It’s all cleaned up now but back then it was full of those Rab C Nesbitt types jumping out at you. Maybe Rab wasn’t ever quite that far gone, but he was always a sparky chap.’ Despite his many achievements, Fisher doesn’t hold back when it comes to assessing the failures (‘I’ve done my fair share of sitcoms in my time, some of which have been absolutely bloody awful,’ he admits), but his latest venture, Only Child with Greg McHugh, is a big success. ‘You can have a great idea but sometimes it just doesn’t come to fruition. If there was a formula for making sitcoms, you’d be away; it’s the absolute holy grail. It’s all about the people. It could be about ego, casting, all of that, but from the get-go, the great thing about Only Child was Greg McHugh, and with him involved, I just thought, “this is going to work”.’ The title of Fisher’s Fringe show comes from the star’s reluctance to stray too far from home. ‘I like my own bed,’ he says. If nothing else, the intimate hour gives Fisher the chance to take a few scenic routes through his life story. ‘The last show I did in Edinburgh was at the official festival with Tom Fleming directing The Servant Of Two Masters. I’d just done a show at Dundee Rep called The Recruiting Officer and the director there thought it would be a good idea if my character had bad breath. Cordelia Oliver, the critic for The Guardian wrote: “We have seen Mr Fisher’s version of the country bumpkin before, with and without halitosis.” But after seeing Two Masters, she said I was ‘a comic genius’. I’ve never believed a critic from that day forward; it was the same bloody performance she saw four weeks before! Now THIS is us heading to Kirkintilloch . . . ’ An (Early) Evening With Gregor Fisher, Gilded Balloon Teviot, 15–30 August, 4pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 15

16 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

BEL

The tragically short life of Beldina Odenyo is the subject of a documentary which closes this year’s Edinburgh International Film Festival. Claire Sawers talks to its director Louise Lockwood about the poignant journey she embarked upon to gather up material and the searing power of Odenyo’s art

“

It’s about a life lived, so big, so brilliantly >> list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 17

DRAG IHSANE BEL SPECIAL XXX

here’s a moment in the documentary Bel where concert promoter Gráinne Vedamanikam is describing the chills she felt watching Beldina Odenyo sing at the 2021 SAY Awards in Edinburgh’s Usher Hall. Vedamanikam speaks of the glowing energy that Odenyo had, the magic that she radiated. By that point, Odenyo had been named one of Scotland’s 30 most inspiring women under 30 and won Celtic Connections’ Danny Kyle Award for stand-out emerging artists. The Kenya-born, Glasgow-based singer-songwriter had built up a reputation as a mesmerising, haunting performer with her stage name Heir Of The Cursed and collaborated on projects with National Theatre Of Scotland. Watching Odenyo stalking the stage barefoot that October night, swirling a dark satin cape around, her voice was transfixing, warbling with raw emotion. Vedamanikam, like many others who witnessed it, knew this was a breakthrough moment in her career. ‘She is never gonna play on a small stage. This is it. It’s happening. The train is leaving the station,’ Vedamanikam remembers in Bel, which will get its world premiere as it closes the Edinburgh International Film Festival. ‘The name on everyone’s lips right now is Heir Of The Cursed. Beldina.’ Two weeks later, Odenyo was dead. She had taken her own life at the age of 31. The music world was stunned. Odenyo was one of 14 siblings and her sister, Leah McAleer, grieving and in shock, was determined that Odenyo’s artistic legacy would endure. She decided to release a posthumous album of her songs. McAleer’s close friend Louise Lockwood, who happens to live in the same Renfrewshire village of Lochwinnoch as McAleer and had met many of Odenyo’s friends, suggested that they also make a documentary. The serendipity of Lockwood being a documentary maker can be added to many of the coincidences, some very dark and uncanny, that occurred in Odenyo’s life. Lockwood has directed documentaries on Eels frontman Mark Oliver Everett and artist Frida Kahlo as well as the BBC drama adaptation of Cora Bissett’s play Adam. ‘At first Leah asked me to make a short video to be shown at a tribute concert for Beldina,’ recalls Lockwood. ‘She gave me Beldina’s phone with all her selfie footage on, her hard drive and everything. She said, “just make me something nice, but also edgy and a bit dark, because that was Bel”. I said ok. That’s when I saw footage of her for the first time.’ Lockwood watched a self-made video of Odenyo singing her song ‘Hold The Mirror’ while playing a guitar, full of reverb. The song soars with lyrics of self-doubt, encouraging an imaginary listener to ignore the internal chatter and embrace self-acceptance. It’s a spellbinding, pin-drop performance and Lockwood was floored. ‘I was sobbing in my shed office, going, “oh my god”. I can still feel it now. Just, what a fucking tragedy. What an absolute loss. For her, the whole family, everything; but also, this can’t go unseen.’ Lockwood went on to assemble a pretty stunning collection of talking heads for the documentary

18 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

IHSANE BEL

to reminisce on the bewitching, warm, strange character that was Beldina. Poet Jackie Kay, playwright Hannah Lavery and singer-songwriters Kathryn Joseph and Emma Pollock are among the creative artists who pay tribute alongside Odenyo’s family and friends, including her younger sister Aurelia from Kenya. ‘Aurelia is just so poetic, so beautiful,’ says Lockwood. ‘You can hear the love in her voice; just pure love. I know that sounds cheesy, but it’s kind of what you get in Bel’s music. Everyone we spoke to had a closeness that was genuine and very deep. They were smart, piercing, understanding.’ Lockwood used Odenyo’s music and lyrics as the spine of her insightful, moving documentary, adding in these emotionally articulate voices to tell the story of her life, from being suddenly uprooted from Kisumu, Kenya, aged six, and taken away from her mother to live with her previously unknown father in Scotland, without real explanation. This early, traumatic experience appears to have left a deep wound with Odenyo, who would also be impacted by the death of her mother and oldest sister during her teens. Her music became a soulful channel for pain, sounding like a rich, visceral blend of Nina Simone and Anohni, plumbing the depths of sorrow with her captivating voice and evocative guitar; or as her sister Leah puts it, ‘the purest expression of what it means to be broken and what it means to survive.’ Odenyo was able to distill her grief into resilience, exploring identity not only through her own music, but her collaborative work as composer and sound designer on Lament For Sheku Bayoh. Hannah Lavery’s play focused on the death of the 31-year-old black man from Kirkcaldy, violently restrained by nine officers while in police custody. Bel includes Odenyo describing her own experiences of violent racism in Scotland. The documentary also touches on Odenyo’s preoccupation with death and dark themes, and what her sister Leah describes as a ‘foreshadowing’ of her own tragic death. Lockwood was keen to handle Odenyo’s suicide sensitively and consulted with Andrew Eaton Lewis from the Scottish Mental Health Foundation to make sure her story was told responsibly. ‘I left a lot out, actually,’ says Lockwood. ‘I didn’t want it to become a film about death. It’s actually a film about life, about a life lived, so big, so brilliantly. But troubled. All that went into her music. I wanted to let her music speak for itself.’

Beldina with her sister Leah

Bel closes Edinburgh International Film Festival on 19 August at Cameo, 9pm; Filmhouse, 9.30pm; Cineworld, 10pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 19

GOOD DRAG IHSANE ENOUGH? SPECIAL XXX

Billed as a celebration of queer joy, Good Enough? is the latest piece from Denmark-based choreographer Andreas Constantinou. He talks to Lucy Ribchester about performer bonding, validation and standing naked on chairs

s the saying goes, you can’t choose your family. You can however choose the people you make art with and sometimes those bonds can turn out to be just as strong. Choreographer Andreas Constantinou had been working with the same group of performers for two shows back-to-back when he realised, one day in rehearsals, just how close they had all become. ‘I would sit back and I’d look at everybody and I’d be like, “oh I love these guys so much”,’ he says over Zoom. He loved watching them dance together, in particular, and so thought initially about changing direction as a choreographer, creating a more traditional dance piece that bucked the trend of his usual, experimental work. But in the end he landed on the idea that it was the bond itself that fascinated him. ‘What I’m interested in is them and each other,’ he says. ‘So this work now has been evolving into what does it mean to have a tribe of people that you consider your creative family? Our personal histories have brought us together into a kind of space where we hold and accept each other, unabashedly.’ This embedded trust (the group have worked together for seven years) proved essential when constructing the piece. In the rehearsal room, Constantinou asked the performers to dig into their pasts, ‘which also means into our wounds, into all the things that we carry,’ he says. Unconditional acceptance was crucial, something queer performers haven’t always been able to take for granted. ‘We all accept each other’s weirdnesses and each other’s quirks,’ explains Constantinou, ‘but the reality is, for many of us in our histories, it’s not been like that in the outside world in other circumstances.’ Constantinou’s work often places pure, raw self-expression at its heart, such as in 2023’s Mass Effect, where he challenged a group of dancers to perform drill routines and keep moving until they dropped. In this latest work, he wanted to continue exploring the body’s potential but also bring the performance back to basics. In fact, he even toyed with the title ‘Back To Basics’ before settling instead on posing the question, Good Enough? ‘What I am interested in are people, their history,’ says Constantinou. ‘Their bodies, their authentic expressions: what comes out of a person. So on that level, I was like, “I’m going to strip it all down, bring three microphones, three chairs, your stories, and you and your bodies”.’ Rehearsals were based around controlled improvisations to try to draw from the performers gestures that were natural and meaningful to them. ‘We spent hours and hours playing around with microphones on the floor, recording, bouncing, squidging. What sounds does it all make?’ Constantinou is never certain at the rehearsal stage what will make the final show, but if a movement or action or gesture interests him, he will keep encouraging the performer to repeat it, ‘and then we find the elements of what’s important’, he says. There is however a level of vulnerability that performers always face, even after months of rehearsals. In Good Enough?, one of the scenes involves the cast standing naked on chairs, performing a task in order to seek validation from the audience. It sounds excruciating for the artists. But for Constantinou the scene taps right into the heart of the show. ‘I could watch it for ages. What comes up are questions of why we perform? Why do we seek such validation? No matter where we come from, we’ve also all gone through this training, dance training. This is a shared history, as well as other experiences, queer experiences and different types of backgrounds. And so suddenly to ask questions of why are we doing this, why do we need an audience, why do we want validation, why do we want to be together? These are very interesting for me.’ The pressures of performing at the Fringe are enormously intense, he says, but working with this particular cast makes it worthwhile. ‘I’m like, “I only want to do this again with you. Only with you, with this team.” I don’t want to do this in any other way.’ Good Enough?, Summerhall, 19–30 August, 1.30pm.

20 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

Spin

GOOD IHSANE ENOUGH?

n and bare it

PICTURES: HIMHERANDIT

22 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

HEATED RIVALRIES

PUCK BUDDIES Ice hockey bonkfest Heated Rivalry became a surprise pop-culture sensation when it screened earlier this year. Now, fans are in for a treat as a triumvirate of shows face off at the Fringe with musical homages to the small-screen hit. Zara Janjua gets her skates on to find out more >>

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 23

HEATED DRAG IHSANE RIVALRIES SPECIAL XXX PICTURE: BLAKE EIRMANN

eated Rivalry isn’t just the name of Rachel Reid’s ice hockey romance turned HBO Max phenomenon. This August, it’s become a perfect description for the trio of companies who have brought their own musical take on the same story to this year’s Fringe. If the fandom has room for one more fantasy, it’s apparently a three-way. Which raises the obvious question: who had the idea first? The answer is surprisingly murky as all three groups claim it. Probably just depends which ‘first’ you mean: first announcement, first script or first performance. It’s the theatrical equivalent of pubs across the city claiming to be Scotland’s oldest. ‘We were the first to have a full production up and running,’ says Rob Warner of Heated Rivalry: The Musical Parody! whose LA sketch troupe Quick And Funny Musicals writes and stages a new work every month; Alan Kliffer, director of Heated Rivalry: The Unauthorised Musical Parody, counters that his Off-Broadway hit sold eight performances before a script even existed; and Kyra Brown, co-creator of Puck Bunnies: A Heated Rivalry Drag Musical Parody admits: ‘I’d be happy knowing we were the first drag one.’ In truth, it’s a remarkably friendly rivalry. The three companies are fans of each other and audiences seem to be following suit, already posting their own ‘Heated Rivalry line-ups’ online featuring all three. But ask each company why this show became such a sensation and you will also get different answers. For Kliffer, it’s men learning to

24 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

be vulnerable with each other. For Andrew Young, co-head writer of Quick And Funny’s version, it’s because two alpha male characters are allowed real intimacy without the trauma that usually accompanies gay love stories on screen. For Brown, it’s women watching an emotional freedom they’re rarely granted themselves. All fine and good, but they don’t agree on why the fandom exists. But it does and it’s enormous. Audiences turn up in bedazzled hockey jerseys hoping to spot Easter eggs or relive iconic moments: Kip and Scott’s kiss on the ice, the shower scene, the waterbottle. Regulars enter nightly ticket lotteries hoping to see the show again and again, something Kliffer calls ‘re-heating’. There are, however, two things every company agrees on. This story was born to be parodied. And it was born to be sung. Quick And Funny Musicals’ Heated Rivalry: The Musical Parody! is exactly that: quick, funny and unmistakably musical. Packed with pop-inspired numbers, slick choreography and plenty of tongue-incheek fan service, their production never loses sight of one golden rule: ‘When do you start singing? When you can no longer express it by talking,’ says Warner. It’s a philosophy he took seriously. Despite not speaking a word of Russian, he learned two minutes of dialogue in that language for the role of Ilya Rozanov. Young reveals the show’s earnest, hopeful showstopper is called ‘When Everyone Is Gay In 2019’, proof that beneath all the outrageous comedy lies a surprisingly heartfelt celebration of love, identity and belonging.

HEATED IHSANE RIVALRIES Cool it: (previous page) Heated Rivalry: The Unauthorised Musical Parody; Heated Rivalry: The Musical Parody! (left); Puck Bunnies: A Heated Rivalry Drag Musical Parody

Puck Bunnies: A Heated Rivalry Drag Musical is named after the slang for women who like to sleep with hockey players. Creators Kyra Brown and Christan Leonard call themselves the scrappy underdogs of the three: no big producers, no attachment to major theatres, just an LA improv cast of drag kings doing this their own way. Their queerness sits at the heart of why they wanted to make it, a chance to show that the story belongs just as much to queer audiences as to the straight women and teenage girls who connected with it so loudly. Brown, who also writes on Apple TV+’s Shrinking, unsurprisingly has a gift for the perfect one-liner. On the show’s relentless niceness, she calls it, only half jokingly, ‘schmuckbait’. And she grapples with a life-defining question: ‘Do I want to be Rozanov . . . or do I want to fuck Rozanov?’ Putting two women in drag as the leads lets them tell a male love story from the outside in, push the comedy further, lean harder into camp and turn the show’s simulated sex scenes into something knowingly, safely funnier than watching two men do the same thing. Their favourite number is ‘Guys Can Be Lesbians Too’, written by Leonard and inspired by a running joke in which two male characters sleep together once and are practically living together by the next episode, poking fun at the classic lesbian U-Haul stereotype. Brown is so proud of it she even wears a cap embroidered with the song title. Finally, there’s the show playing it (relatively) straight: Heated Rivalry: The Unauthorised Musical Parody, fresh from an acclaimed

Off-Broadway run ahead of its Fringe transfer. Director Alan Kliffer was the inaugural artistic director of Second City New York, producing audition showcases for Saturday Night Live and The Tonight Show while writer Dylan MarcAurele brings his own pedigree as the writer behind Fringe hit Pop Off, Michelangelo!. Kliffer is adamant the songs aren’t just funny, they’re built to live rent-free in your head for weeks. ‘Dylan writes really memorable music,’ he says, before bursting into a chorus from MEG4N, another MarcAurele musical (based on the killer robot movie), just to prove his point. No one agrees who got there first. No one agrees why the fandom exists. No one is making quite the same show. And yet all three have arrived at exactly the same conclusion. Heated Rivalry was always going to become a musical, whether through Broadway craft, lightningfast parody or gloriously queer drag. Fans were singing about it long before anyone wrote the first song. Heated Rivalry: The Unauthorised Musical Parody, Underbelly George Square, until 30 August, 7.50pm. Puck Bunnies: A Heated Rivalry Drag Musical Parody, Gilded Balloon Patter House, until 31 August, 10.45pm. Heated Rivalry: The Musical Parody!, Gilded Balloon Patter House, until 30 August, 7.45pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 25

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26 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

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A NEW PLAY BY

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05 - 31 AUG list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 27

GET READY TO TAKE THE EDGE OF YOUR SEATS. 7 - 29 AUGUST 2026 SCAN FOR TICKETS

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ART

THE LEGACY OF SLAVERY The history of slavery and its reverberations of ongoing racial injustice leave a mark of shame on many parts of the world, none more so than America. Alabama’s Legacy Museum presents its first ever travelling exhibition as part of the Edinburgh International Festival, a one-hour immersive experience which uses rigorous research and powerful storytelling in order to confront a terrible past. (Brian Donaldson) n Playfair Library, until 30 August. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 29

ART

GWEN JOHN: STRANGE BEAUTIES  When Gwen John (1876–1939) wrote how ‘a beautiful life is one led, perhaps, in the shadow, but ordered, regular, harmonious’, it was a self-aware summation of her own quiet devotions, both in life and work. The Edinburgh leg of this major exhibition, in partnership with Amgueddfa Cymru/Museum Wales in Cardiff and prior to US dates at Yale Center For British Art and the National Museum Of Women In The Arts, marks the 150th anniversary of John’s birth. It brings together more than 200 of her paintings, contextualised here in such a way as to reveal the connections, repetitions and variations pursued by John with an understated but passionate intensity. This runs throughout her portraits of unsmiling women, her beloved cat and the nuns she looked to after converting to catholicism. With each set lined up in groups, you can play a game of spot the difference with the same enigmatic subjects posed against increasingly austere backdrops. There is mystery too in John’s depictions of the rooms she lived in after moving to France, each accoutrement offering a tantalising glimpse of the life lived there. For all her insularity, John opened a door for other women artists even as she pursued her singular vision in a room of her own. (Neil Cooper)  National Galleries Of Scotland: Modern Two, until 4 January.

ESTHER CASTLE: ABUNDANT PARTS  Approaching Edinburgh Sculpture Workshop, a concrete building tucked beside Newhaven’s busy cycle path and surrounded by nettles and scratchy brambles, visitors are met by Esther Castle’s Abundant Parts, visible through the building’s frontage. It’s a fitting introduction. Beyond the glass, Castle has created a space where glossy ceramics, oversized forms and branching sculptures seem to multiply like weeds in an unloved garden; their palette of fleshy pinks, deep reds and verdant greens slipping between the botanical and the bodily. Cartoonish, childlike faces sit strangely among the unruly landscape. Drawing on her experience of childhood illness, Castle explores the ways society frames non-normative bodies through the language of weeds, growth and control. Viewed through the gallery window, the installation takes on the quality of a museum diorama, inviting close observation while keeping viewers at a distance. The show is playful but absolutely bursting with feeling. (Afreka Thomson)  Edinburgh Sculpture Workshop, until 27 September.

SANDRA GEORGE: START FROM THE LEVEL  ‘Start from the level people are based’ was the ethos of Sandra George, who made her home in Edinburgh and contributed to various charities and community action groups with her photographic essays. Split into strands of community and home, the images in this exhibition (curated in collaboration with local art centre Craigmillar Now and with input from her son Tyler) are typical of the social realist mould, documenting tensions and positive action in the working-class culture of Edinburgh during the first flush of Thatcherite politics. Her meticulously catalogued images of protest and solidarity are a reminder of connections that remain between the 2020s and the 1980s, two periods of mass deindustrialisation and technocracy which galvanised leftist politics and protest movements. If issues as diverse as race, pornography and anti-capitalism remain relevant today, other aspects of the exhibition prove the past is a foreign country: community centres, now largely shuttered or depleted of resources, are depicted as down-at-heel but vibrant hubs where all walks of life are welcome. Despite her social and political focus, touching moments of autobiography reveal themselves in the home strand, in which George profiles her son’s upbringing. Hints of the art life are seen in the negative space of each photo, from the tastefully paint-spattered walls of her flat on Bread Street to the reference books piled next to her living-room chair. They’re the signs and symbols of an artist dedicated to her craft, to the seriousness of everyday life and to the joyful responsibilities of motherhood. (Kevin Fullerton)  City Art Centre, until 27 September.

30 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 31

THE EDWARDIANS ART

Opulence, luxury and glamour are at the heart of Age Of Elegance, a show which covers the period from 1863 to 1918 and features work from Carl Fabergé, Rosa Bonheur and John Singer Sargent.  King’s Gallery, until 6 December.

ART

HIGHLIGHTS

EARTH MATTERS Over 30 artists reveal soil’s beauty and fragility in this celebration of the 300th birthday of James Hutton aka ‘the father of modern geology’. Among those creatives whose work is shown are Joan Eardley, Sekai Machache and Alberta Whittle.  Royal Botanic Garden Edinburgh, until 1 November.

SGÀIRE WOOD

In Pride, In Piety, In Vigilance is the title of this exhibition from the Glasgow-based Irish artist, utilising traditional heraldic imagery to examine notions of heritage and belonging.  Jupiter Artland, 14 August–18 October.

TRANS MASC STUDIES

RICHARD MAGUIRE

History Is A Home isn’t just an exhibition; it’s also a reading room and research space where visitors can explore queer history through a collection of ephemera and publications.  Custom Lane, 14–30 August.

RACHEL MCBRINN + JONATHAN WEBB This new moving image commission places the restoration of the capital’s North Bridge in a historical context going all the way back to the original 1760s build and the political and social backdrop of the city that was being shaped around it.  City Art Centre, until 13 September.

32 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

SONGS OF INNOCENCE AND EXPERIENCE PART II Caribbean artist Frank Walter is hailed in what would have been his centenary through the work of 20 artists who have either responded directly to his paintings or whose own work has something to say in dialogue with his.  Ingleby, until 12 September.

Launching the Time + Space early-career artist programme, Maguire’s drawings and sculptures tackle power relations through representations of race and sexuality between Britain and South Asia.  Collective, until 13 September.

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From

| 12–19 August 2026 | THE LIST FESTIVAL 33 per year Don Quixote (Is list.co.uk/edinburgh-festival a Very Big Book)

34 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

BOOKS

JACKIE MORRIS Some of our feathered friends are in dire risk of being wiped out. In this event, artist Jackie Morris is joined by palaeontologist Steve Brusatte to discuss the incredible evolution and possible extinction of a number of avian species. Hopefully not too high up on the endangered list is the delightful kingfisher, two of whom are drawn here by Morris from The Book Of Birds, a lovely tome written by Robert Macfarlane. (Brian Donaldson)

n Edinburgh Futures Institute, 19 August, noon. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 35

BOOKS

PICTURE: MAXIME HUGEUX

Pleasure principle

S Let's talk about sex: (from top) Hollie McNish, Kate Lister, Jean Menzies, Ashley Douglas

Female sexuality and the role of sex in women’s stories come under the microscope at this year’s Book Festival. Rachel Morrell goes under the covers to find the events exploring an often-misrepresented subject

tarting our journey of sexual exploration with Hollie McNish, the bestselling poet behind Lobster and Slug, feels appropriate, as she explores a simple word which comes loaded with meaning: virgin. McNish will traverse the murky depths of purity culture between musings on her own journey in poetry collection Virgin. Across three events, she’ll bring her modern voice to a subject that has rendered many a story untold: her own late-night discussion (22 August, 8.30pm) and joining the panels for ʻPoorna Bell: She Wanted Moreʼ (23 August, 2pm) and ʻThe Compassion Salonʼ (23 August, 11.45am). Kate Lister will join the ʻLadies Of Pleasureʼ line-up (15 August, 5.15pm) as the panel discusses the control and liberation of female sexuality. Sharing the history of prostitution in her blog Whores Of Yore and as host of the award-winning podcast Betwixt The Sheets, Lister is a perfect addition to the festival’s sex-positive panel, especially as her new non-fiction novel, Flick: The Story Of Female Pleasure seeks to transform the image of women’s sex lives. Charting examples throughout history which reveal the overlooked idea that women in the past enjoyed rather than endured their sexuality, Lister rejects the common perspective and instead discovers humour and empowerment in the bedrooms and brothels of yesteryear. Joining Lister on the panel is Jean Menzies, ancient historian and author of Aphrodisia, who takes a look at the boudoirs of classical antiquity, finding everything from seduction tips to civil rights in the annals of ancient Greece and Rome in order to provoke an understanding of women’s desire and sexual wellbeing today. With a prolific backlist that includes everything from a sapphic reimagining of Arthurian legend to the significance of Greek mythology in LGBTQ+ literature, Menzies is a well of knowledge who will be appearing in ʻLadies Of Pleasureʼ and chairing a range of mythologycentred events throughout the festival. Thanks to her new book With My Own Hand, Ashley Douglas adds to our understanding of Scotland’s saucier side via 16th-century Marie Maitland, a scribe and secret lesbian poet, whose sonnets in The Maitland Quarto are finally finding the light. Combining the manuscript’s hidden clues with her own research into this queer woman’s life in 1586 amid the rigorous moral code of Scotland’s Reformation society, Douglas discovers one of the earliest instances of lesbian poetry since Sappho. Having worked with the National Library Of Scotland and specialising in LGBTQ+ history and the Scots language, it will be fascinating to hear about her exploration of this topic in person at the ʻLadies Of Pleasureʼ panel, adding even more depth to a series of seductive events at this year’s Book Festival. All events at Edinburgh Futures Institute.

36 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

Top 5

memoirs

MARK HADDON

Known for creating some of contemporary fiction’s most memorable characters, Haddon turns his attention to his own life in Leaving Home. Moving beyond a simple retelling of the past, he explores family, ageing and memory, capturing the contradictions and emotions that shape how we understand our own biographies. n 15 August, noon.

ALAN DAVIES

Best known for his comedy and screen appearances, Davies looks behind the familiar public persona in White Male Stand-Up. Tracing the highs, lows and unexpected turns of his career, the memoir offers a candid look at what happens when the performer steps away from the stage and reflects on the person underneath. n 19 August, 10.30am.

SO MAYER

Blending personal reflection with wider questions about power and identity, Mayer’s Bad Language explores the role words play in shaping our lives. Through their own experiences, Mayer examines

BOOKS

From personal reckonings to journeys of survival and creativity, Ananya Patankar picks five Book Festival conversations that explore the many ways a life can become a story how language can be used to exclude and control, but also reclaimed as a way of creating change. n 20 August, 7.15pm.

LOUIS DE BERNIÈRES

Rather than focusing only on literary success, de Bernières’ Smelling Of Rooks finds stories in the everyday. Drawing from years of observations and reflections, the book moves through rural life, family, politics and personal passions, offering a glimpse into the ordinary moments behind a celebrated writer’s imagination. n 27 August, 2pm.

XIAO HAI

Beginning with his teenage years working in China’s factories, Xiao’s Adrift In The South follows a journey through labour, displacement and selfdiscovery. Alongside the realities of migrant work, the memoir traces how poetry opened a path towards creativity and a new sense of belonging. n 29 August, 6.45pm. All events at Edinburgh Futures Institute.

Xiao Hai

PROFILE

LEN PENNIE

PICTURE: KATHERINE ANNE ROSE

Len Pennie has been a prolific and multifaceted fixture of the Scottish literary scene over the past decade, which is all the more impressive when you consider that she’s still only in her 20s. Hailing from Lanarkshire, she rose to prominence during covid, posting performances of her poetry online as well as her Scots word of the day. Her viral poem, which opens ‘I’m no havin children, A’m gonnae hae weans’, was the centrepiece of her first collection, Poyums, published by Canongate in 2023, which won a British Book Award and was a bestseller. Since then, Pennie has published a second collection, Poyums Annaw and, until recently, hosted the cultural magazine programme The Arts Mix on BBC Radio Scotland. As befits such a versatile and inexhaustible artist, she is making a series of appearances at this year’s Book Festival, all with different themes and emphases. Pennie appears alongside Sophia Smith Galer, author of How To Kill A Language, in an event entitled ‘Use It Or Lose It’ (Edinburgh Futures Institute, 15 August, 11.45am), focusing on bilingual identity and efforts to revitalise threatened languages. Later in the month, she will be taking to the sanctuary of Greyfriars Kirk to perform Delusions (27 August, 7pm), her spoken word/musical collaboration with composer Paul Leonard-Morgan that debuted at this year’s Celtic Connections to wide acclaim. The pair will reflect further on their creative partnership in a strand called ‘On Adaptation’ (Edinburgh Futures Institute, 28 August, noon), unpacking the process of putting music to words and vice versa alongside novelist Ali Smith and Emlyn Stam, artistic director of the New European Ensemble. (Allan Radcliffe)

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BOOKS

HIGHLIGHTS

BOOKS

TOM NEWLANDS

How do you follow up an award-winning debut novel? You just go and write another cracker, of course. Something Like Happiness is the tale of teenage sweethearts who are now navigating the ups and real downs of an adult relationship. n Edinburgh Futures Institute, 15 August, 1.30pm.

DEAN ATTA Poet and author of books for young adults and younger kids, Atta is set to publish his literary debut for grown-ups. Big Man features a gay couple living happily together until one of them is dragged back to a dark memory they’d rather not think about. n Edinburgh Futures Institute, 18 August, 5.30pm.

GRAEME ARMSTRONG The Airdrie-born author has followed up his Young Team debut with Raveheart, the tale of an underground resistance movement led by a veteran techno DJ while turf wars threaten to get out of hand. n Edinburgh Futures Institute, 19 August, 5.30pm.

PHILIPPA PERRY

WHO RUNS THE NEWS?

The acclaimed psychotherapist, artist, writer and television presenter who is married to some artist or other, has turned her gaze onto the world of crime fiction. Her debut, Shrink Solves Murder, has got tongues wagging. n Edinburgh Futures Institute, 16 August, 1.30pm.

ABIR MUKHERJEE The Pinnacle is the latest crime thriller from this London author as a faded Hollywood icon is accused of killing his Bollywood-superstar wife after he blacks out and finds her dead beside him in bed. n Edinburgh Futures Institute, 16 August, 7pm.

38 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

CORY DOCTOROW & JIMMY WALES What went wrong with the internet? As per usual, the idea is not wrong, it’s the people who use it that spoil everything for the rest of us. Author Doctorow (pictured) and Wiki founder Wales try and make sense of it all. n McEwan Hall, 17 August, 1pm.

Might be fair to say that Novara Media’s Ash Sarkar and the Beeb’s Douglas Fraser could come at this subject from different angles, but neither will be aloof about the threat to democracy of the news cycle being in certain hands. n Edinburgh Futures Institute, 17 August,

BLACKBOX

A play disguised as a magic show

From the team behind 2025's Dreamscape One of The Scotsman’s Top 5 Shows

★★★★★ The Guardian ★★★★★ EdFest Magazine

Editors: Chris Powici and Allan Radcliffe Gaelic Editor: Anna C. Frater “The annual finger on the pulse of the literary nation” —The Herald www.asls.org.uk

Publishing the best new work from emerging and established writers in Scotland today

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40 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

CABARET CRAY CRAY CABARET

PICTURE: STEVE ULLATHORNE

He’s having quite the Fringe comeback is Phil Nichol with a play, stand-up shows (old and brand new), and this riotous cabaret all going on. Teaming up with a top band and eccentric sidekicks, the emphasis firmly on the outrageous, this will provide the ideal showcase for acts both firmly established and on the rise. (Brian Donaldson)  Voodoo Rooms, 18–30 August, 7.30pm.

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CABARET

THANK YOU, FUCK YOU AND I’M SORRY lllll When they said ‘anyone can bring an idea to Fringe’, Jonny Forever’s elegiac grief ritual is exactly what they meant. Not content with recording his debut album earlier this year, he’s created a performance around it, playing the whole thing in full, armed only with a guitar, pedal and viola, and a backdrop of animation, lyrics and VHS versions of his old home videos. You cannot accuse Forever of leaving anything in the green room. There’s a laser-focus to his energy and commitment, while his voice is both supple and versatile, moving from subtle whispers to full-out howls of pain in seconds as he sends his songs out to his lost ones. He’s made a clear choice to follow the norms of theatre rather than cabaret, observing the fourth wall throughout, which leads to a sense that he’s performing at us rather than with us. Perhaps experimenting with eye contact and connection could help build an emotional bond and move his audience through the journey. Hard to do in a wee room with a tiny firstweekend crowd, of course, but the bigger audiences will come for Forever as he continues to build his craft and tell his story. (Jo Laidlaw) n C Aurora, until 16 August, 7.50pm.

AN EVENING WITH DAME GRANNY SMITH lllll

PICTURE: LLOYD TUDOR

In this absurd yet delicious pastiche of cabaret divas and showbiz interviews, we meet a talking apple in conversation with puppeteer and ventriloquist David Salter. It feels wrong to call this a one-man show, given that Dame Granny Smith is such a large onstage personality (albeit a petite green fruit), being expertly brought to life by Salter. Now slightly shrivelled and browning, Dame Smith was once a child star who went on to feature in Disney’s Snow White. A controlling conservatorship, sleazy casting couch moments: she’s lived through it all. We’re taken on a surreal ride through Dame Smith’s career with triumphant and ridiculous blasts of song from Les Mis and Shirley Bassey, through to the rather undignified loss of her grip on reality now that she’s a much more mature fruit. Salter’s invisible plosives are truly fantastic; his teeth remain on permanent display as he effortlessly handles the back and forth between himself (reverential, self-deprecating, slightly nervous of any accidentally racist slips) and the less than politically correct Dame Smith. Who can say where Salter got the idea for this strange spin on This Is Your Life, but it touches on some sweetly poignant moments among the dafter detours. (Claire Sawers) n Underbelly George Square, until 31 August, 2.50pm.

MILLICENT SARRE IS TOO TIRED TO SMASH (PATRIARCHY) lllll

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PICTURE: MATT CROCKETT

Down in the intimate confines of Assembly Roxy’s basement, Millicent Sarre’s third Fringe show grapples with burnout. Through a series of heavenly cabaret songs, the award-winning performer details the qualities of her highest self with exquisite harmonies, before questioning what this kind of social pressure really means in the face of global atrocities, invasive technology and impossible-to-meet beauty standards. As Sarre’s own mental gymnastics make the audience giggle, rage and sing softly when invited, a sense of togetherness and comfort turns off the noise of overwhelm. The lyrics are candid, with the only slight miss being a country song about the mental load that doesn’t quite gel with the rest of this show, brushing over the goals of intersectional feminism. Still, under celestial lighting, using her entrancing catalogue and a sweet love story to accompany the tired masses toward mental wellbeing, she touches on a feeling we often don’t speak about with grace and a careful hand. With just a loop pedal, a set of keyboards and her right-hand man, Sarre brings buckets of talent to quell the infernal internal monologue. Her impressive vocals are matched with clever puns and, despite getting a tiny bit into the clouds by the end of some sections, she has made a truly touching cabaret that will win over even the most hardened critic. (Rachel Morrell) n Assembly Roxy, until 30 August, 3.50pm.

ut odt! i O - wo H l dl l y e So o ing H r F

ROX A N A B ALDOVIN 14 CHARACTERS. 6 COSTUME CHANGES. 5 FILMED SKITS. 4 SONGS. 1 GIRL.

“This is what it was like knowing Gaga before she was Gaga”

AUGUST 16-27* 21:20 W E S T S I D E RO D E O (@ THE SALOON BAR)

*dark 18. 21. 22

THE INTERACTIVE NINJA TRAINING SHOW

頑張って BRISTO SQUARE underbellyedinburgh.co.uk 01315100395

11.05am

05 - 16 AUG

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 43

THE MEADOWS

underbellyedinburgh.co.uk 0131 510 0395

7.20pm

07 - 29 AUG

44 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

CABARET

The impossibly statuesque Reuben Kaye stands centre stage, shrouded in a black cape, the prelude to a ferocious opening number. The cape drops to reveal an outrageously fabulous outfit, all shimmer, shine and bare arse. Backed by his tight band, this man knows how to make an entrance. There’s just time for a quick costume change into a little black number before he launches into a fiercely political set that spares no one. Kaye doesn’t do middle of the road: his delivery is fast and filthy and nothing is safe from his rapid-fire ire. In between knockout songs, he stalks the spiegeltent stage in killer heels, spitting out savage takedowns of those who dare to call themselves our leaders. This is fearless comedy, the danger palpable, with virtually no topic off the table: the far right, his own Jewishness (only for the food, he quips), infertility, Palestine, nationalism, Charlie Kirk’s funeral, conversion therapy, even a gasp-inducing Ann Widdecombe reference. He gleefully tears down Elon Musk as a man so awful that even the paedophiles on Epstein Island reckoned he was too weird to invite. A mesmerising live presence, Reuben Kaye is a dark, compelling queer voice screaming at us to wake up and smell the fascism. You’d be a fool not to listen. (Paul McLean) n Assembly George Square Gardens, until 29 August, 8pm.

PICTURE: JAX MOUSSA

REUBEN KAYE: HARD TO SWALLOW lllll

REBEL REBEL lllll The Voodoo Rooms ballroom is made for Fringe: tucked away, swathed in black cloth and proudly spinning what might be the biggest mirror ball in town. Rebel Rebel, a variety show (not a tribute show) celebrating David Bowie, fits right in. Dusty Limits is our host, bringing the cabaret vibes with his sly crowd work and sharp asides, while his genuine and evident love of Bowie brings the heart. Limits is also the main vocalist for the evening, with a rotating cast of Fringe faves dropping by. You might be lucky enough to see the incomparable Aidan Sadler, whose version of ‘Life On Mars’ breaks hearts for all the right reasons. While Bowie plus burlesque might not be the combo you left the house for, it’s a fab way to kick-start a Fringe night out, with the opportunity to support the charity Cabaret vs Cancer as an added bonus. (Jo Laidlaw) n Voodoo Rooms, until 16 August, 7.30pm.

DECEPTION: A MAGIC EXPERIENCE

lllll

Magicians love to talk. It’s the baseline of diversion. Make friends with the audience, lure them into a stage of vulnerability and wham: dazzle ’em. Yet in a field bloated by egos and chasing grand illusions, Dan Bastianelli’s Deception offers a refreshing juxtaposition: he might just be the Fringe’s most honest magician. In an intentionally tight setting where the audience is practically breathing down his neck, there is zero margin for error. Turning close-quarters sleight of hand into a masterclass of absolute precision, Bastianelli passes this ultimate test of proximity with flawless elegance. While card manipulation forms the spine of the production, calling these ‘tricks’ diminishes their aesthetic grace. Bastianelli handles a deck with painterly finesse, weaving intricate shuffles, card folding and personal anecdotes into visual poetry, culminating in a jaw-dropping final flourish best left unspoiled. Crafted with meticulous care, the show uses subtle recurring motifs to anchor its limited narrative arc as Bastianelli threads each routine with gentle reminders of their relationship with magic. Audience interaction is an inevitable requirement but Bastianelli cultivates a genuinely laid-back atmosphere. Participation feels effortless, guided by his disarming, affable warmth, and his technical mastery speaks entirely for itself. Where Fringe magic so often relies on cheap bravado or bombastic theatrics, Deception triumphs through quiet dexterity and understated charm. For anyone who appreciates the delicate beauty of a wonder executed inches from their eyes, Bastianelli delivers a captivating hour. (Dominic Corr) n Space Surgeons’ Hall, until 15 August, 2.45pm.

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THE CULT OF ASTAROTH CABARET

In the land of demonology, Astaroth is considered to be a Great Duke Of Hell and associated heavily with the qlippoth (don’t ask). All that stuff is turned into a magic show in the depths of a famously haunted pub.  Banshee Labyrinth, until 30 August, 7.20pm.

CABARET

HIGHLIGHTS

1954: ELLA, ETTA, EARTHA The further we get away from that year, the more attractive some bits of it seem to be, especially the powerful female voices that were making history across the world. Melissa Western relives it all here.  Assembly St Andrew Square, until 16 August, 2.30pm.

CRITIQUE CABARET Astute scholarship and variety entertainment don’t always go hand in hand, but they do here as critical theorist Mandy Harris Williams puts on a lecture/performance all in the name of glamour.  C Aquila, 17–30 August, 7.25pm.

ANDREW FROST

DO YOU WANNA GO?

MANIC

Just Let Me Have This is a classic card trick show but also a plea for people to stop trying to work out how he does it. Claiming to be manipulative and a liar, does that mean those glowing quotes from Derren Brown and Davd Blaine are cobblers?  Pleasance Courtyard, until 30 August, 3.25pm.

If you saw and loved The Great American Trailer Park Musical, you’ll go a bundle on this as composer/lyricist David Nehls takes an audience on a romantic adventure to 1990s Greece, featuring a storming soundtrack.  Greenside George Street, until 22 August, 6.35pm.

46 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

COLIN CLOUD What with truth being a fluid concept these days, it feels like the perfect void for a magician/mentalist to sneak into. And in the Grand is one of the top ones du jour, showering us with a Hoax.  Pleasance Courtyard, until 30 August, 7.30pm.

Performed solo by music video director Roxana Baldovin, this high-octane piece about ambition has been dubbed ‘a musical meltdown for anyone who’s ever wanted to be adored . . . or at least algorithmically liked’.  Just The Tonic Westside Rodeo, 16–27 August, 9.20pm.

TICKETS

Supported by Cold Town House

6-31 AUG, 9pm

19:15 05 - 30 AUG

ASSEMBLY GEORGE SQUARE: PICCOLO

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48 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

COMEDY

PICTURE: MATT CROCKETT

COMEDY JACK DEE Marking 40 years of playing the grouchy grump is stand-up par excellence Mr Dee. It should be recalled that he did crack half a smile when he won the very first Celebrity Big Brother back in 2001 fending off the likes of Brookside’s Claire Sweeney, boxing’s Chris Eubank, Blue Peter’s Anthea Turner and Boyzone’s Keith Duffy. But telling jokes is his number one game and he’ll be dishing them out here for a week. (Brian Donaldson)  Assembly Rooms, 17–23 August, 4.45pm.

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DAN TIERNAN: QUARTZ AND ALL 

COMEDY

Challenging the stereotype that new age spiritual woo-woo is the sole preserve of female stand-ups, Dan Tiernan offers a hilariously spirited defence of his collection of healing crystals. Though he’s fairly well established now, his annual update on the latest tweaks to his quirky physiognomy and mental fortitude, allied to his snarlingly intense stage presence, ensures that he delivers a tour-de-force introduction to himself once again. Uninitiated audiences might not know he’s gay. But his disclosure of an ADHD diagnosis to sit alongside his dyspraxia doesn’t exactly come as a bolt from the blue. Aggressively commanding the stage, his brow rarely less than furrowed, Tiernan is also disarmingly open, touching on the psychotic episode that formed the basis of his last show and outlining his sexual inexperience. Vulnerable and impulsive, you can see the attraction of magic, destiny-shaping stones for him. Despite acknowledging the ridiculousness of his purchases, they are, he maintains, no more so than the catholicism he inherited or the countless tiny superstitions everyone is prone to. Supporting his bulldozing performance, there’s a beautifully written show about hope and yearning here. Soul-baring admissions of his struggle to shake off shame around his sexuality are presented cheek-by-jowl with amusingly gratuitous pops at his friend and fellow comic Paddy Young. (Jay Richardson)  Monkey Barrel, until 30 August, 10.25pm.

PICTURE: JACK HAUXWELL

FAB GOUALIN: MIXED MESSAGES 

PICTURE: STEVE ULLATHORNE

With a wide grin and a penchant for berets, French-Nigerian comic Fab Goualin has an easy charm that makes his gig feel more like a chat with your (slightly bitchy-but-we-love-it) mate than a polished routine. He recounts navigating awkward assumptions around his identity with a light touch, spinning between racist colleagues, a quinoa-fuelled childhood, his athletic family and the expectations people seem to place on him. Retelling how he came out to his Nigerian family is hilarious, as is his devastation over swapping sweaty nights on the dancefloor for silly little dogs and Jo Malone candles. Goualin is quick but kind with the crowd, even when a rude ringtone threatens his grand finale. Occasionally, the material treads familiar ground as he eye-rolls at the creeping horrors of adulthood (think Rightmove, overpriced lattes and phone-obsessed boomers) but with a wink and a nudge, he mostly gets away with it. (Afreka Thomson)  Gilded Balloon Teviot, until 30 August, 5.40pm.

PICTURE: KOLTIN SULLIVAN

UNDERGROUND MONK SHOW  Four black-hooded figures enter the Piccolo Tent, moving as one. They’re clutching a plastic bowl of water, which several audience members are doused with in ever more ridiculous ways, from their heads to the soles of their shoes. This water is central to the hour of absurdity that’s about to unfold. During the course of the show, each monk takes their turn to have some sort of spiritual awakening via this liquid . . . and that’s where any cohesion ends. It’s pointless to come into this expecting a narrative thread; there’s really nothing that ties any of it together. Audience members should only come expecting the unexpected, from potential romantic encounters with the cast to a full-on rave. The monks are played by an incredibly talented cast of physical performers who work seamlessly together, their commitment to the clowning chaos carrying the hour. But that commitment doesn’t automatically translate to a good time for the audience. It’s not always clear what’s going on and, while that’s part of the fun, the staging doesn’t help. Depending on where you’re sat, you can miss chunks of the physical comedy that this whole experience hinges on. Still, there’s a lot to be said for a piece that commits so thoroughly to not making sense. You might leave thinking, ‘what did I just watch?’, but that’s maybe the whole point. And you’ll be laughing as you ask it. (Lauren McKay)  Assembly George Square Gardens, until 30 August, 10.15pm.

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AMANDA DWYER: BETTER THAN REVENGE lllll COMEDY

It seems fitting that Amanda Dwyer should have followed in the footsteps of Janey Godley to become this year’s winner of the Sir Billy Connolly Spirit Of Glasgow Award. Her conversational, sometimes conspiratorial tone certainly calls to mind much of Godley’s startlingly frank admissions, not to mention the stories of the men who made her early life such a struggle. Having established that practically no one read her prominent content warning before entering the room, Dwyer is at pains to ensure the crowd is settled before she gets to the nub of her concern: she’s seriously fed up of men in power. Dwyer presents a series of grim personal experiences, the most harrowing of which took place in 2008 and which she describes as the most humiliating thing that’s ever happened to her. What began as an act of charity turned into something very bleak indeed. While Dwyer is astute enough to mine dark humour from absurd situations, some of Better Than Revenge is simply too disturbing for laughs and there are moments when Dwyer asks us to keep some of her stories within this room. Following one particularly harrowing tale, an audience member fails to initiate a round of applause and this release of tension brings about one of the show’s biggest laughs. There is some light among the dark, notably in Dwyer’s cute observations about her autistic 11-year-old son, who eagerly embraces people’s differences. It may be comedy as therapy, but Dwyer is an interesting voice on the circuit, particularly when she refuses to make the toughest parts of her story any easier to hear. (Murray Robertson) n The Stand 2, until 30 August, 6pm.

PICTURE: TRUDY STADE

ZOE WOHLFELD: DOG FUNERAL lllll Twinkles is dead (no spoilers, it’s in the title) and we’re all invited to the funeral. Zoe Wohlfeld’s debut clowning hour is packed full of the well-observed and objectively odd details of our shared rituals, from awkward wake chat to conducted keening. Dog Funeral is a highly participatory show, relying on the audience catching the vibe and letting go of their inhibitions from the opening moments. That can make for a rocky start; a gentler build-up might help us get to where Wohlfeld needs us to go. That said, for the right crowd this is a ridiculous hour of clowning that’s as black as Wohlfeld’s mourning garb. The Gaulier-trained clown has bags of presence, excellent timing and isn’t afraid to sit in the awkward pauses. Rubber of face, weird of mind and full of absurdity, her invitation to take our place among wee Twinkles’ mourners is hard to refuse. (Jo Laidlaw) n Underbelly Cowgate, until 30 August, 5.25pm.

CHRISTOPHER HALL: PIZAZZ lllll

PICTURE: RACHEL SHERLOCK

Christopher Hall is serving sass and a perfect pre-soirée at Teviot with his raucous show full of snappy lines and memories of sunset snogs. Bringing a glimpse into the 2010s clubbing scene back to life in a fabulous ensemble, Pizazz makes you feel like you just found a new best friend at a wedding. Considering the allocated ‘pizazz’ invite to parties (which get earlier as he gets older), Hall recalls his friendship mishaps and mad nights out with a variety of accents and cleverly crafted callbacks. He lights up the room with banter about babies, best friends and all things LGBTQ+ while the audience laps up his bubbly personality, dance moves and cultural insights (including the vibrant movements of stag weekends, package holidays and Magic Mike Live). Ideal for those who love a bit of participation, this brand of glinting-eyed humour casts a friendly spell over the crowd, making even the shyest spectator into a social butterfly and sending the over-30s to bed feeling like they’ve had a night out by 11pm. While it may not be the most life-changing or philosophical hour at the Fringe, it will certainly keep you amused. (Rachel Morrell) n Gilded Ballon Teviot, until 31 August, 8.20pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 51

Saturday 8th & Saturday 22nd

B O O K N OW

5 5 . 0 0 P ER P ER SO N | 1 2 P M O R 2 P M

Dining, signature cocktails, premium pours, curated music and entertainment come together in a new kind of daytime experience. 18 W Register St, Edinburgh EH2 2AA

@tatturestaurants | tattu.co.uk

MR BOY BOY:: THE BEAUTY CONTEST

TICKETS

18:30 BIG YIN 5 - 31 AUG

BOX OFFICE

0131 622 6552

GILDEDBALLOON.CO.UK

52 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

FOR BOYS

13:20 17 - 31 AUG

ASSEMBLY GEORGE SQUARE: STUDIO FOUR

JOSH PICKAR: GETTING OFF lllll

COMEDY

Josh Pickar served as a US capital defence attorney for seven years. His role was to defend men on Death Row, with clients including the notorious neo-Nazi Dylann Roof, who shot nine people dead at a Charleston church in order to start a race war. Pickar’s work wasn’t about proving these men were innocent. Instead, he was trying to ensure they were granted clemency. He explains how he quickly built meaningful relationships with them (even Roof whose crimes were a huge moral battle for the lawyer) and the insights he shares into a broken system are fascinating. Pickar must have plenty more stories to tell and, as straight storytelling, they would make a powerful hour. But the show falls flat when he attempts to weave in comedy. It feels choppy, the comedic elements not fully blended in, and jumps from a sincere lecture about the ins and outs of the capital punishment system in the US to camp humour and back again. The pacing suffers as a result, never settling into a consistent rhythm long enough for either mode to land. By the end, the tonal whiplash outweighs its strengths. (Lauren McKay) n Assembly Roxy, until 30 August, 7.40pm.

BOB KOOMEN: PEAR lllll

PICTURE: ROSA BULTSMA

Bob Koomen just wants to connect with people. Finding himself in highly unusual situations with others struggling to understand his motives, Koomen ploughs ahead with his ‘great ideas’ (stealing bananas from shopping baskets, creating an app that combines Tinder with Too Good To Go), every life experience sparking the soft surrealism he revels in. For this kind of material to work, the weirdness really needs to be dialled up to its fullest and tonight Koomen’s timing and confidence seem off from the start, despite his wide-eyed delivery. An opening section about unemployment and job interviews is hesitant, while an early attempt at crowd work quickly fizzles out, which could perhaps be attributed to early-run nerves. A musical interlude, with Koomen sitting at a handpan and discussing the best way to butcher a lobster, fares better, pointing to a comedy brain looking to explore areas that might showcase his Dutch absurdities more robustly. (Gary Sullivan) n Just The Tonic Hive, until 30 August, 8.30pm.

ANIA MAGLIANO: PEACH FUZZ lllll The ‘SNL UK effect’ will be apparent across the comedy scene at this year’s Fringe, but few will reap its benefits more than Ania Magliano and Paddy Young. In the front row of Magliano’s gig, a couple wear T-shirts featuring her and Young grinning during their Weekend Update slot. Elsewhere, it’s clear that years of critically acclaimed standup and TV has turned her into a cottage industry of sorts: one woman in the front row strikes up a conversation about Magliano’s podcast, while a joke about her appearance on Taskmaster goes down a treat. At one point, during a vulnerable piece of confessional material, she comments, ‘I know, it’s a bit different from Saturday Night Live’ to draw a line between her telly persona and the gentle, substantial daunder of her stand-up. Looser than some of her previous work, Peach Fuzz is broadly about Magliano coming to terms with her own body, bridging the gap between a very English repression and a desire to unshackle herself from sexual hang-ups. Her conversational flow (which places her somewhere between the stuttering unsurety of Richard Curtis-era Hugh Grant and a Simon Amstell-ish sense of self-reflection) continues to hold the verve of a friend in the room. As she guides her audience through recent encounters with therapists, floatation tanks and a very labia-focused body positivity, unexpected and delightful punchlines are where she shines. If any SNL UK fans were puzzled by the lack of Weekend Update-style zingers, it didn’t show. Magliano, as ever, courts a warm reception. (Kevin Fullerton) n Monkey Barrel, until 30 August, 1.25pm.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 53

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54 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

DAVID ELMS DESCRIBES A ROOM lllll COMEDY

Perhaps one of the most novel and ingenious improv shows at the Fringe, David Elms Describes A Room should also receive a garland for being one of the more literal titles around. For an hour, as he explains in the intro, David Elms will describe a room. But not the room he’s standing in. It will be an imaginary room created in participation with the audience. And then, at the end of the show, it will disappear. It’s a premise that initially seems unsustainable for 60 minutes, but the gathering is very quickly engaged with the joy of letting their imaginations run wild. Sitting somewhere between Victorian parlour game and knotted acting exercise, slowly populating the room provides an insight into the mindset of the audience members, who variously suggest charming, funny or outright sinister objects. Elms himself is a calm and quick-witted anchor, amiably teasing and slowly prodding them for more detail. Orson Welles once said, ‘give a theatre audience just a suggestion and you get them working with you. That’s what gives the theatre meaning: when it becomes a social act.’ Elms has pushed that sentiment to its logical conclusion, directing proceedings to an ingenious closer that’s both a feat of memory and of his good humour. As the crowd filed out the door, they shared mini anecdotes about their suggestions and what else they would have added to the room. Their mind palace may vanish when they leave the venue, but David Elms’ sense of wonder leaves its mark. (Kevin Fullerton) n Pleasance Courtyard, until 30 August, 9.30pm.

ROBWORDS LIVE lllll He’s a popular guy, this Mr Words. Almost a million etymology geeks follow his YouTube channel where he imparts wit and wisdom on all things language. Judging by the queue chatter, there’s plenty of folk here already familiar with Rob Watts (alas, Words is not his birthname). Tonight he’s educating us about the ‘wallies who ruined English’, among them the Williams (Caxton and The Conqueror) and a chap called Ivar The Boneless. Watts imparts his passion with super-slick slides, fun animations and fascinating facts about the evolution of the English language and the quirks of its letters (an analysis of c, k and q causes soul-searching on why we even need all three). With Watts as a kind of Professor Brian Cox of the derivation universe, this is a gently humorous TED-type talk that climaxes with a revamp of our familiar alphabet, complete with enthusiastic singalong. Our A, B, C, it transpires, isn’t as easy as one, two, three. (Paul McLean) n Assembly George Square Studios, until 16 August, 8.10pm.

IFRAH QURESHI: 48 FLAWS OF POWER lllll

PICTURE: TRUDY STADE

Edinburgh-born and Glasgow-based Ifrah Qureshi is already a well-known face on the Scottish comedy scene. But this is her debut Fringe hour, a show, she says, about how she tried to defeat her Asian mother who recently moved in with her. At which point Qureshi immediately regressed to acting like a teenager: cue lots of disagreements. Turning to Google for advice, she settled on a self-help book, 48 Laws Of Power. Qureshi frames her material around the book’s ‘power plays’, weaving in personal tales: her sister’s inter-racial marriage, her work in IT, Muslim dating apps, the manosphere. She’s an adept raconteur, though not every tangent lands. Her material is strongest when she speaks to her experiences as a Scottish Muslim (a ‘semi-skimmed’ one to her mum’s full fat). She holds a lens up to her (mostly white) audience, asking when it’s ok to laugh at stereotypes. The structure is slightly muddled and the pacing a bit off, with an abrupt ending that she admits isn’t fully thought through. There’s a sharper hour in here, but on this evidence, Qureshi is definitely one to watch. (Lauren McKay) n The Stand 4, until 30 August, 8.15pm.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 55

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Conk delivers a masterclass on how to win over a sceptical audience. Lauren McKay insists that Man Sings The Same Song Over And Over Again For An Hour has cult Fringe hit written all over it

countdown timer shows 60 minutes. Then there’s a voiceover: ‘Hey. My name’s Conk. I’m about to walk on stage and sing a song for you. Many times.’ You might assume that it’s just a joke, and that despite the title, there’s no way anyone would just sing the same song over and over again for an hour and call it a Fringe show. Maybe it’ll give way to something else once it starts? But it doesn’t. Conk walks out, the timer starts ticking and he does exactly what he warned us would happen. It’s an absurd concept. And yet it works, thanks to Conk’s physical craft. He’s a superb clown, using subtle facial expressions, shifts of movement and his whole body with each new variation of the tune. It’s a rare performer who could pull this off, but he controls the room completely. Before we know it, the crowd feel like we’re all in this thing together: we’re not just watching him do this ridiculous bit, but somehow we’re living it with him. The first rendition of the song (no spoiler here about precisely what song) is fairly straight: there’s a mic stand, some dancing and a bit of air guitar. By the third rendition, you may well be thinking, ‘surely he’s not going to keep doing this’. Conk meets that doubt head-on, glancing at the clock as if he’s thinking it too. By the fourth time through, the room’s disbelief has dissipated. We’re fully on board now, and every cheesy grin as the opening notes strike up again gets a bigger laugh than the last. Somehow, every single rendition finds a new way to be funny: dramatic reinterpretations, running gags, audience members drafted into the action. One is handed an instrument, while another is sent to fetch a pint. And, of course, there’s a singalong complete with lyrics. Although at that point, it’s doubtful that any audience member needs them. By the end, no one’s checking the clock. And when the time is up and he finally takes his bow to shouts for an encore, his response is the perfect final beat. Man Sings The Same Song Over And Over Again For An Hour might not be for you if you like your Fringe shows to have deep meaning. There’s no arc and no big lesson here. But if you’re looking for pure, unadulterated joy from a master of his craft, this is exactly that. And couldn’t we all do with some more joy in our lives? Man Sings The Same Song Over And Over Again For An Hour, Summerhall, until 31 August, 7.45pm.

56 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

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COMEDY

PICTURE: MADELINE ROYCE

e om d 5 STARS

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DIRECT BUS/TRAM FROM EDINBURGH AND GLASGOW TO VENUE + CAR PARKING list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 57

COMEDY

PHIL NICHOL: AREN’T WE LUCKY lllll

PICTURE: STEVE ULLATHORNE

It’s 20 years since Phil Nichol won the Edinburgh Comedy Award for The Naked Racist, a full-throated and wildly physical account of a debauched weekend in Amsterdam. Now aged 60, you might expect the livewire comic to have calmed down, but there’s no sign of that in Aren’t We Lucky. The Canadian was raised by Scottish parents Ian and Ethel (both now in their 90s), and their infectious joie de vivre clearly rubbed off on their son. Much of the show is dedicated to their various antics and idiosyncrasies which he brings to graphic life with a deft sweetness. After a signature, spittle-flecked rant about the futility of belief, Nichol segues into the core theme of his show: that we’re all extremely fortunate to have ended up right here, right now, in this room. He considers various events from his own life and those of his family and friends, exploring the role chance has played in each. Much of it examines the illness and subsequent fortunes of his musician friend Kevin, while there’s also a delightfully bitter and deeply unexpected story concerning Ed Byrne’s possession of one of Prince’s guitars. Throughout the hour, Nichol rattles from one story to the next, injecting everything with gallows humour and an almost supernatural enthusiasm. It all builds towards a chaotic crescendo involving an extraordinary, drug-infested meeting with his future in-laws, although he even manages to turn that into an endearing ending. (Murray Robertson) n Gilded Balloon Teviot, until 30 August, 5.20pm.

SYDNEE WASHINGTON: MY BLACK BARBIE STORY lllll As a kid, Sydnee Washington’s best friend was her life-sized black Barbie doll. Since then, she’s lived a thousand lives and is here to tell you about as many of them as she can. Armed with a slideshow of clip art and animated text, this is a whirlwind Fringe debut. Washington talks a mile a minute, skipping through hundreds of slides to stay on time. Raised by her elderly, god-fearing family, she had no friends. In college, she befriended white women and discovered partying, a theme that continues into her days as a bottle girl, where she explored her sexuality and experimented with drugs. It’s a wild ride, perhaps a little too wild for some in this mid-afternoon crowd. Washington is a magnetic presence. While some of the Americanisms go over the audience’s head and the ending veers into a moralising that’s at odds with the lighthearted material that’s come before, it’s hard not to be won over. (Lauren McKay) n Monkey Barrel Cabaret Voltaire, until 16 August, 3.50pm.

ROSIE JONES: I CAN’T TELL WHAT SHE’S SAYING lllll

58 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: JIKSAW

Rosie Jones is a rich, famous comedian and a national treasure: her own words. Even if she’s exaggerating, it’s fair to say that Jones’ star has risen markedly of late. As she puts it, she feels sorry for anyone who doesn’t know who she is because they obviously don’t own a television. Her new hour goes out of its way to put distance between the sweet, excitable persona she projects on shows such as Taskmaster, and Rosie Jones, the 36-year-old professed lover of ‘gravy and tits, preferably at the same time’. As a disabled, gay woman, she notes that she would be first in line for both arts council funding and a concentration camp, and Jones is unflinching in confronting some of the patronising attitudes she has encountered over the years. Her lampooning of the ‘Darrens’ who have trolled her online since she became famous is especially keen. Their biggest problem with her, apparently, is their claim not to understand what she says. This baffles Jones, whose cerebral palsy means that she has to talk slowly and loudly, which she always thought made her sound like ‘an arrogant man in a foreign country’. The leisurely pace means her audience is made to wait for punchlines, which is thrilling, especially as you’re never quite sure where she’s going next. Some material on representation and online abuse is discomfiting, but Jones is always quick to undercut the threat of seriousness with wit and an infectious grin. (Allan Radcliffe) n Pleasance Courtyard, until 30 August, 4pm.

5-31 August, 3.25pm

WOMAN SEEKING CUDDLES

Directed by Robyn Ross Starring Hannah Strauss Written by Renwick McAslan

“Intensely gripping.” - Rhys Reviews Debuting at The Fringe after a sold-out Off-Broadway run, Woman Seeking Cuddles is a darkly comic, confessional one-woman show that follows Harper’s quest for love in New York City.

Harper

32 · Woman · Straight 1 mile away Seeking: Cuddles Dirty martinis More cuddles A reason to stop going to therapy

ACTIVE TODAY

Emmy-nominated writer Renwick McAslan asks, in a culture obsessed with connection, why is it still so hard to feel held, and why does destiny feel algorithm-driven?

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 59

by Jack Anderson and Charlotte Mclean in collaboration with Malin Lewis

60 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

MOTHMAN: A ROMANCE MUSICAL lllll

COMEDY

PICTURE: HUDSON HUGHES

When you fuse musical theatre with the DNA of 2010s Tumblr, you get Mothman: A Romance Musical. Years ago, deep in the woods of West Virginia, America sought to create a supersoldier that would be able to defeat the Nazis. But everything went wrong when a moth found its way into the machinery: thus, Mothman was born. Now a group of three young people are on the hunt for this legendary creature. The show has everything: sexyman cryptids, psychotic killer clowns and (most terrifying of all) Armie Hammer. It packs an insane number of twists and turns into its runtime and is unmistakably rough around the edges, from costume hiccups to less-than-fantastic vocals. It is, however, absolutely hilarious in its absurdity. Raunchy gags and bizarre scenarios make for a side-splitting combo, and the show’s steady stream of jokes quickly drowns out its imperfections. The only area in which the show falters is the music. With the exception of the brilliant ‘Moth Meat’, its songs are forgettable and much sparser on the comedy, leaving the less polished elements at the forefront. Nevertheless, Mothman: A Romance Musical earned a standing ovation for a reason. (Isy Santini) n Underbelly Cowgate, until 30 August, 6.50pm.

CHRIS GRACE: 88% lllll PICTURE: JILL PETRACEK

Making knotty, zeitgeisty stand-up seem effortless, Chris Grace’s latest Fringe hour is inspired by a casually racist joke. It expands into a punchily persuasive call for greater tolerance and robustness in debate, while putting much less stock in the values we all hold dear. Absurdly argumentative, unwilling to cede ground without an insane amount of research, Grace has many reasons to sit in a ‘defensive crouch’. As a gay, liberal, Asian-American, he’s at the intersection of a lot of prejudice and it would be easy for him to just retreat into a bunker and snipe. With a husband suffering severe health issues, the stakes are high for him to get things right. Yet, damn it, he’s really put himself out there in the gay saunas and fast food joints of the USA for his right to not maintain the illusion of being a right-thinking, perfect human being all the time. Compassion fatigue is real, hypocrisy innate. Thoughtful and consistently funny, Chris Grace is laying the foundations for a post-Trump world. (Jay Richardson) n Assembly George Square Studios, until 31 August, 1.40pm.

CELYA AB: WE MUST STOP MEETING LIKE THIS lllll There’s an awful lot to unpack in Celya AB’s latest show. But the normally wickedly witty French comic seems overburdened by the baggage she’s juggling. After musing on the separation anxiety of a celebrity baby, she considers validation in various forms. She explores her childhood and a backhanded compliment her father paid her; being an immigrant with a vested interest in stopping Reform; and her sexual odyssey from self-imposed celibacy to a mentally emancipating one-night stand. Most haltingly, she discusses whether she wants to continue with stand-up, listing the pros and cons of what had seemed to be her vocation. A sense of incomplete transition pervades the set, which, at this performance in the first week, wrapped up disappointingly early. Archly funny when composed, delivering sly, damning putdowns of men and society, AB nevertheless touches on some dark subject matter, finding an easy balance between the bleak and the frivolous. The big problem is that, at this stage, We Must Stop Meeting Like This never comes close to cohering into anything. AB shares some pretty pregnant thoughts, literally so in her assertion that having turned 30 she wants a baby. But she just leaves that lingering in the background, never once addressing it again. And while she ultimately pledges one aspect of her future, it’s not quite with the full-hearted conviction you might hope for, leaving behind plenty more questions than answers. (Jay Richardson) n Monkey Barrel, until 30 August, 6.10pm.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 61

COMEDY

WILL ADAMSDALE: AI, AI, OH . . . lllll It is 22 years since Will Adamsdale won the Perrier Award (now the Edinburgh Comedy Award) but the subject of his new show, the temptations and risks of AI, couldn’t be timelier. The story starts at the tailend of lockdown, when Adamsdale and his family fled London for Devon, with the warnings of friends and his agent that he’d never work again still ringing in his ears. The comedian set about joining a group at the local school called ‘No iPhones For Under 16s’, staging a one-man kitchen protest against AI use in TV writing and resurrecting his long-cherished project of writing a novel about chess master Garry Kasparov’s battle against the Deep Blue computer. Then, in an attempt to prove to his children that he wasn’t a complete technophobe, Adamsdale made tentative overtures to Chat GPT and was soon conversing long into the night, the transcripts of which formed the basis of a promising sitcom about, you guessed it, a (ro)bromance between a man and his AI pal. Adamsdale is a self-described ‘showbiz jack of all trades’, a storyteller rather than a straight stand-up, who appears most at home when accompanying himself on the guitar in a series of musical pastiches. He is less at ease when separated from his instrument, with a nervy breathless delivery that occasionally causes him to meander and stumble over his words. Though the performance needs some tweaking and tightening, the meat of Adamsdale’s tale, about the folly of trusting and throwing your lot in with an AI companion, is highly entertaining. (Allan Radcliffe) n Underbelly George Square, until 29 August, 1.45pm.

MARIO ADRION: LIVE A LITTLE lllll In his debut Fringe hour, we learn lots about male model turned YouTuber and stand-up comedian, Mario Adrion. For anyone who saw him strutting in his Speedos on American Idol, bouncing his pecs (and those who immediately went to Google that), he’s keen to prove he’s way smarter than many imagine. Living in America ever since those high cheekbones landed him modelling work during his teens, the 32-year-old from smalltown Germany sometimes leans on US bro humour a little too hard, but finds a more interesting voice in the more emotionally honest bits. Although Adrion is keen to move away from objectification, there’s still plenty material about his body (his hordes of straight and gay fans don’t mind one bit), but he finds knottier, darker comedy territory when talking about his emotionally distant mum and Nazi grandad. Identifying as a people pleaser, the modelling years involved him doing a lot of things that he now regrets. He’s happy to laugh at the thirst trap shoots he did, but things get serious when he reveals how physical boundaries were crossed, something he explains was rife in the fashion industry. Mario Adrion is a charismatic storyteller for sure, exposing insecurities beneath his pretty boy image. (Claire Sawers) n Pleasance Courtyard, until 29 August, times vary.

BRYN WOZ: SMUT lllll

62 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: NICOLE SLOAN

A comedy to titillate your taste for seduction, until it gets serious. Writer and performer Bryn Woznicki has perfected a shameless cabaret to bring a blush to every cheek. Overt and simultaneously tasteful, Smut opens the door to the world of sex, with a woman who has tried every flavour. Treating us to gags with an edge, in sparkling burlesque attire, Woznicki plays the indefatigable Entendre Entendre, who shares stories from her exploits. The audience have a rollicking laugh at canapés gone wrong, crucial advice for well-endowed men and cheeky requests for brave individuals in the front row. At the climax, Woznicki causes us to pause, drawing the viewer into a painful rendition of heartbreak. Shrieks are quieted as the desire to be entertained clashes with the object of our amusement baring her soul, before the mood is lightened for a last laugh amid deeper musings. An ingenious solo performance, Smut deserves every bit of love. (Rachel Morrell) n Assembly Roxy, until 31 August, 9.10pm.

QUEEN’S PARK GLASGOW AUGUST 2026

IN PERSON: Tickets Scotland Glasgow/Edinburgh. Venue Box Offices and all usual outlets.

regularmusic.com

regularmusicuk

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 63

COMEDY

SEANN WALSH Few do high-energy exasperation quite like the guy who has been on a pair of major reality shows (he landed in some tabloid trouble during one of them) but is back where some would say he truly belongs. n The Stand 3, 18–23 August, 7.25pm; The Stand W Edinburgh, 22 & 23 August, 5.30pm.

HIGHLIGHTS

THE SOUND WITHIN A parody of a certain kind of TED Talk, this show has Carol Eisenberg and Julie Stern (‘gurus of the throat’) doing sketch, character and musical comedy, all to celebrate the miracle of the organic voice. n Space Surgeons’ Hall, 17–29 August, times vary.

MARJOLEIN ROBERTSON Two Marjos for the price of one this year (though maybe not literally) as she gives us workin-progress Stand show Clouds, alongside some Shetland Folklore at the Scottish Storytelling Centre. n The Stand, 17–30 August, 2.35pm; Scottish Storytelling Centre, 24–30 August, 8.30pm.

ROB KEMP

FRANKIE MCNAIR

A few years back, Kemp was the talk of the Fringe with his cult hit The Elvis Dead where he performed tunes by Mr Presley while relevant footage from The Evil Dead played behind him. He’s back with Beatlesjuice. You know the formula. n Hoots The Apex, 15–29 August, 11.10pm.

ALEX EDELMAN Last time the Boston comic was in Edinburgh he gave us a gem, Just For Us, that became a Broadway and HBO hit. He’s back with What Are You Going To Do which features an amputee hospital, various deities and seashells. n Pleasance Courtyard, 18–31 August, 5.30pm.

64 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

KRISTEN SCHAAL Another very long-awaited return to the Fringe, this time from the indie comic who has appeared in the likes of Mad Men, Flight Of The Conchords and a pop video from The National. She’s back with a comedic play, The Legend Of Crystal Shell. n Pleasance Courtyard, 14 August, 11pm.

August is the time to see the darkest of dark comedies with sometimes very little release for audience and act (see Baby Reindeer and Nanette). In Huge Ass Mindset, McNair aims to find some light in terrible personal trauma. n Gilded Balloon Teviot, until 30 August, 7pm.

18 July 2026 – 16 January 2027 Featuring over 80 iconic costumes from Pride & Prejudice to Peaky Blinders

Book tickets at dovecotstudios.com Dovecot Studios, 10 Infirmary Street, Edinburgh EH1 1LT Exhibition organised by the Fashion and Textile Museum

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 65

SCAN FOR DETAILS

66 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

DANCE & CIRCUS

DANCE & CIRCUS As part of this year’s Made In Scotland showcase, choreographer Karl Jay-Lewin and composer Matteo Fargion reimagine Fritz Lang’s 1927 sci-fi blockbuster Metropolis. Performed by an eightstrong ensemble, the work emphasises dignity, humour, rebellion and tenderness with a title which recalls early 20th-century anarchist Emma Goldman who stated, ‘if I can’t dance, I don’t want to be in your revolution’. (Brian Donaldson)  Assembly Dance Base, 18–27 August, 2.40pm.

PICTURE: BRIAN HARTLEY

IF I CAN'T DANCE I'M NOT COMING

DANCE DANCE & CIRCUS

�

I’m not on stage to be in therapy

he French are known purists when it comes to many things: cheese, wine and, it turns out, theatre. This was something Ninon Noiret discovered when, after graduating from drama school in Paris, she put it to a director that she might like to work as both an actor and dancer. ‘They were like, “if you are doing a bit of both, you’ll never be amazing at one”,’ Noiret says over Zoom. ‘“Well”, I said, “it’s too bad. I actually decided to be an acrobat too”.’ In her spare time, between acting and dancing, she had been covertly taking circus classes on the side. Disillusioned with the rigidity of the French drama scene, Noiret moved to Scotland in 2017 and was pursuing a career as a multidisciplinary performer when, six months later, she started to feel pain in one of her knees. Various scans and medical appointments eventually revealed the worst: she had non-Hodgkin lymphoma, a rare blood cancer. Months of chemotherapy and treatment followed, but rather than putting aside her creative pursuits while fighting the disease, Noiret began brewing ideas for a new solo show based on her diagnosis. That eventually became The Raft Of The Crab, a piece combining Chinese pole acrobatics, dance, text and puppetry. Eight years, a remission diagnosis, two broken vertebrae and a global pandemic later, the work finally premiered this year at Edinburgh’s Manipulate festival and is now headed to the Fringe. It’s fair to say this has all been far from plain sailing but, throughout the lengthy development process, Noiret’s belief in the work’s purpose remained steadfast. ‘I knew I could make something that people could

68 THE LIST FESTIVAL |12–19 August 2026 | list.co.uk/edinburgh-festival

Ninon Noiret was busy launching a multi-threaded career as a dancer, actor and acrobat when a cancer diagnosis forced her life in a different direction. She tells Lucy Ribchester how she turned the traumatic experience into a solo show combining Chinese pole and puppetshaped alter egos

relate to. And that could be nothing to do with cancer. It could be about anything; mental illness, or whatever happens to someone.’ Noiret is distrustful of the idea of creating art as part of the performer’s therapy journey and was keen to make sure the show spoke beyond her experiences. ‘I felt like if it was an ego trip, I would have wanted to stop, because I’m not on stage to be in therapy; I’m doing therapy on the side,’ she laughs. ‘It’s more like I felt that it could actually talk to people, even if you didn’t have the same story as me.’ When her diagnosis was made, Noiret happened to be sharing a flat with the acclaimed puppeteer Gavin Glover and, during the development process, became drawn to the life-like style of his puppets. She saw in them the potential to represent her various sides, including the versions of herself during and after her cancer treatment. Although she describes their uncanny realism as ‘super creepy’, it was these very same qualities that made them strangely relatable. ‘I’m way more touched by that. You can see that they’ve been through a lot.’ Despite the weight and intensity of the show’s subject matter, Noiret maintains that the piece is rooted in joy. To that end, she chose the title playfully. While the ‘raft’ refers to Géricault’s famous painting, ‘The Raft Of The Medusa’, depicting a shipwreck, the crab is a wry reference to the coincidence of Ninon’s illness and her astrological sign: ‘the crab was obvious for me, as I’m also a Cancer.’ The Raft Of The Crab, Assembly Roxy, 18–31 August, 2.30pm.

THE MEADOWS underbellyedinburgh.co.uk 0131 510 0395

4.10pm

08 - 29 AUG list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 69

PEREGRINATIONS lllll DANCE & CIRCUS

New York’s Dutch Kills bring us a physical theatre show that’s stunning in its simplicity. Although non-verbal, the messages that it shouts silently are powerful. Billed on their website as a puppet show with music, ‘exploring displacement and the immigrant crisis in America’, this is a piece about humans, with themes easily applied to Europe. Bureaucratic horrors, our unwillingness to share resources, the perils of labour and forced migration: many grim details are interchangeable, particularly for those from the global south. Simple white paper props are used symbolically. Origami birds reflect the cruelties of paperwork, while Tetris-style interlocking blocks and floating staircases convey relentless journeys towards safety. These winding travels inspire the title, Peregrinations. Gatekeepers wear ghoulish white masks; a dismissive flick of the hand or inappropriate caress of a back conveys the disdain and disrespect encountered by many seeking refuge. Harrowing scenes of children being removed and bodies sinking under water play out with astonishing elegance through mime, alongside more mundane scenes of factory jobs and tender moments playing peekaboo with a toddler. A video game sequence with bleeping original music is a welcome light touch, just as the cleaner scrubbing floors seeks comfort in her memories. Both poetic and painful to watch. (Claire Sawers) n Assembly Roxy, until 30 August, 11.25am.

YUCK CIRCUS: NAUGHTIES lllll

PICTURE: JACK TIMBERLAKE

The Aussie femme-led circus troupe is back and, as always, it’s worth taking a moment to marvel at how they change the way women view their own bodies by doing, you know, totally normal things like forming a human pyramid. It never gets old. This new show is a homage to the noughties, with a soundtrack of boyband and club classics. MC Georgia Deguara keeps the laughs coming and handles the crowd perfectly but we’re all here for the jaw-drops and the first half doesn’t quite deliver the circus set-pieces we’re waiting for. Things go up a gear with an Evanescence-soundtracked aerial silk routine that perfectly matches tricks with the show’s shtick, one performer’s spectacular side fringe deserving its own Insta. From here, it’s high note after high note: Fergie (the good one), fortune tellers, ropes, hoops, pyramids and all the good stuff in a final half hour that’s all yum, no yuck. (Jo Laidlaw) n Assembly George Square Gardens, until 30 August, 4.40pm.

CODE lllll This ambitious and heartfelt piece from physical theatre group Justice In Motion sets itself a high bar. It aims to tell a coherent story, make us feel for its characters, raise awareness of terrifying crimes and their complex root causes, and channel all this through a range of performance disciplines, from hip-hop dance to rap to parkour and bike tricks. If it doesn’t quite pull off all of this flawlessly, then its sheer energy and integrity make up for that. The action takes place around Celia Perkins’ phenomenal splitlevel set, made up of concrete and graffiti, scaffolding and estate front doors. The cast loop and fling themselves through this to thrilling effect, fluidly shifting scenes from skatepark to nightclub and school. Bullied schoolkid Nicky (Sylvia Mae Gray) is living in poverty with a single mum, when one day at the park she falls prey to a drug dealer who grooms her to smuggle and sell across county lines. As Nicky’s involvement with the drug gang deepens, the violence escalates. The script spells out each story beat of Nicky’s descent into drug dealing and lacks subtlety at times. However, the verve of Marcus ‘Matic Mouth’ Smith’s rap narration, the heart-pounding parkour and incredible bike skills provide a pulse that underpins the action. The stats the company offer at the end are sobering: 46,000 kids were involved in county lines drug dealing last year. Multi-age productions like this give young people an opportunity to perform these stories rather than becoming one of those numbers. (Lucy Ribchester) n Pleasance Grassmarket, until 27 August, times vary.

70 THE LIST FESTIVAL |12–19 August 2026 | list.co.uk/edinburgh-festival

review of the week

DANCE & CIRCUS PICTURE: JAMIE DENNIS

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anc

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anc 5 STARS

Lucy Ribchester discovers soul and fire in Collaborator, a wonderful circus show which shines a light on both a close relationship and inspirational art

t’s startling to think that the age at which most people start hitting their career prime is the age at which dancers and circus artists start to think about retiring. Thankfully it’s becoming more common to see older dancers perform, but this doesn’t negate the fact that physical professions place a toll on the body, as well as increasing the risk of injuries the older you get. As they reached their 40s, married couple Charlotte Mooney and Alex Harvey, who together lead circus company Ockham’s Razor, had been making work for over two decades. When they began segueing into directing rather than performing, a friend asked them if they had retired. They hadn’t, at least not officially. But this propelled them to consider creating a swansong show. Collaborator is the result. The piece comes weighted with a level of poignancy, therefore, before it has even begun. Twenty years is a long time to trust, test and rely on another person’s body. As Mooney says in her introduction, they never intended to make work together; circus couples are notorious nightmares in the rehearsal room. But how lucky that they did, and Collaborator stands as an ode to the grit, teamwork, banality, intimacy and love that goes into mastering both relationships and creative disciplines.

There is a level of unfiltered candour from the outset. Mooney and Harvey welcome us into the theatre, stand around, chat, rig the stage themselves. They wear neutral-coloured casual clothes. In some circus shows this kind of thing can feel confected. Here it just feels honest. They have nothing to prove and everything to celebrate. But the candour also extends to the less glamorous parts of being a circus couple. In chapters titled ‘Most Days’, ‘The Dark Days’ or ‘The Days Where You Just Have To Keep Going’, they demonstrate in dance drills the drawn-out dedication of circus practice. Some of these sections feel slightly laborious but so is conquering a skill and navigating a marriage. There are spectacular uses of swinging pendulums, illustrating different kinds of momentum and energy, and Holly Khan’s score is gorgeously textured, from Brazilian drumbeats to filmic swooning. But the real soul and fire of the show comes when Mooney and Harvey duet on doubles trapeze in a custom-built rig. From their cats-cradle legs to the way they nest and balance off each other, there is circus magic in this extraordinarily special bond. Collaborator, Pleasance EICC, until 22 August, 5pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 71

Take That

QUEEN

Robbie Williams

Monty Python

Tom Lehrer

“ONE OF THE BEST PERFORMANCES YOU WILL SEE AT THE FRINGE” — BROADWAY BABY —

Y OF A TRILOGTAGED S Y L E RAR T PLAYS O N E - AC inner

w er Prize by Pulitz Wilson rd Lanfo

DEEP FLIGHT PRODUCTIONS PRESENTS

WHO WE BECOME ONE-ACT PLAYS

LANFORD WILSON

Age 18+ (Restriction). Contains distressing or potentially triggering themes.

72 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

DANCE & CIRCUS

TALE OF THE FIREBIRD: CONCERTO FOR VIOLIN, FIRE & ACROBATIC ORCHESTRA 

PICTURE: CARLOS HERNAN

Tale Of The Firebird is an acrobatic explosion of musical skill, daring feats and addictive atmosphere. A fairytale depicting the legend of a phoenix rising from the ashes, created and performed by The Freestyle Orchestra, it is a riveting piece of theatre that reimagines what can be achieved on stage. A versatile group of dancers, musicians, fire artists and acrobats from Australia display multiple talents at a time to convey the story. As the audience are stunned by flames and contortion, every scenario pushes the state of excitement further. Musical instruments rise into the air and bodies slink together in unity, creating shapes that further the narrative and allow a story of conflict and victory to emerge. Beautifully balanced, the lighting effects are almost as impressive as the stunts, but the coordination of the cast is exemplary as they listen intently to each note and leap into their next movement in unison. While the costumes don’t add much to the overall effect, there is a magnificent artistic quality to the show. A few tiny missteps and an elongated violin solo aside, the wealth of talent on display is undeniable. Unexpectedly arresting and packed full of surprises, this combination of orchestral storytelling feels immersive and enduring. Combining fire, acrobatics and musicality, often at the same time, it is a marvel of modern musical theatre that will stay with you long after the smoke has cleared. (Rachel Morrell)  Assembly Roxy, until 30 August, 6.15pm.

HK SOUL SHOWCASE: GEMINI AND ROMANTIC 4:48AM  This double bill, from choreographers Justyne Li and Blue Ka Wing, shows Hong Kong’s dance talent in thriving form. Li’s Gemini is up first, an eerie and intriguing duet where superhuman forces whip the dancers’ bodies around with hurricane strength, or take over their fingers, necks and limbs in blasts of animatronic twitching. The two dancers (performing in moody, muted casual clothes) have awesome control and precision over their movements, making each detailed wrist flick or arachnoid splay of legs look hauntingly uncanny. They tussle at a distance, manipulating each other with invisible energy and, close up, covering each other’s eyes, taking turns at who holds the power. Blue’s Romantic 4:48am also introduces power games but softens the pent-up tension of Gemini. Here we have a sensual and playful palette of tactile velvet and ruffle costumes, with knotty intimate movement (plus guest cameos from a hoover and a hairdryer). Near the start, the two dancers are locked together so tightly they form a strange flower. Later they play lightly sadistic games, slapping each other’s hands to the lyrics of ‘My Heart Will Go On’ and weaponising those previously mentioned household implements. It’s wonderfully whimsical and a beautiful foil to Li’s enigmatic piece. (Lucy Ribchester)  Assembly Dance Base, until 16 August, 5.30pm.

SAND 

PICTURE: ROY RILEY

There are no words spoken in Sand, yet by its final moments it manages to say an extraordinary amount about love, memory and the devastating gradual losses caused by dementia. The circus theatre show follows a couple whose seemingly normal day at the beach begins to slowly fracture as Dylan’s dementia increasingly intrudes upon their life together. Sand is constantly shifting beneath the performers, footprints disappear as quickly as they are made and the coastline itself becomes a metaphor for memory being steadily eroded. At one point, Dylan appears unable to recognise Heather, pushing her away despite her attempts to reach him. Moments of confusion and agitation become increasingly frantic. Through striking movements and an evocative soundtrack, the effect is quietly devastating. The show finds a deeply human way of portraying dementia; not only the confusion and loss, but the love that remains when memories start to disappear. (Robyn Bell)  Summerhall, until 17 August, 1.30pm.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 73

DANCE & CIRCUS

FLESH lllll

PICTURE: HUBERT AMIEL

In a Fringe where ‘dark comedy’ has become a buzzword, Flesh plunges into really awkward, uncomfortable laughter. In a style that echoes Chris Morris’ Jam, this series of extended sketches finds humour in death, thwarted desire, facial mutilation and family rivalry. The company takes both their physical comedy and material seriously. They mine the awkward tension of Samuel Beckett, slowly setting up the scenario and allowing it to spiral towards a bleak punchline. A man at a parent’s deathbed misses those final moments because he can’t access his phone quickly enough; a memorial to a departed mother is disrupted as her children squabble over the ashes; an adventure into virtual reality fantasy traumatises the player. Each sketch is performed with a languid grandeur, conjuring the uncanny from the mundane. Sophie Linsmaux and Aurelio Mergola eschew words for gestures and nuanced physicality, unafraid to let the action drag out until the frustration provokes nervous giggles. From the first moments, the mood is set; serene, sardonic and satirical, finding comedy in small details while allowing a sense of foreboding to fester. The most dynamic routine, in which a woman enters a virtual reality world that takes her into the heart of the film Titanic, parodies both the eroticism of the source and the danger of allowing fantasy to replace reality, while acknowledging the existence of those emotions it provokes. Minimal yet expansive, it speaks of existential and body horror through mime and silence, a chilling reminder of theatre’s capacity to exploit the uncanny. (Gareth K Vile) n Zoo Southside, until August 30, 10.30am.

UNDER MASK lllll

360 ALLSTARS lllll A health warning: your hands and throat will be sore from clapping and cheering following this show. The stunts come thick and fast from the cast of seven who flip, spin, drum, MC and juggle, all with the flair and energy of a video game on turbo setting. Two B-boys go head-to-head, in Mortal Kombat mode, while a basketball freestyler provides a mixture of comic relief and skill, finger-spinning and juggling an increasing number of balls. And it’s a clever surprise to see drums used as a circus act. Drummerdirector Gene Peterson smashes out riffs with one hand while casually playing jazz keyboard with the other. It’s a shame the line-up is so heavily gendered towards men; the only woman, the brilliant and energetic MC Mirrah, has her mic balanced so low against the drums that it’s hard to hear her rhymes. With a bit more diversity, a bonanza like this could inspire kids towards all kinds of streetstyle skills. (Lucy Ribchester) n Assembly Hall, until 31 August, 3.50pm.

74 THE LIST FESTIVAL |12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: 光俞XIEYU

Wooden martial arts poles, incense sticks and long bird feathers are used as props in this intense, impressive work from the Mailantia Dance Company, choreographed by Lai Yun-Chi. Under Mask takes its inspiration from the faces that we show, the identities we hide and the roles that we follow. Four dancers begin in flesh-coloured underwear, with their faces painted in the traditional red, white and black paint often seen in Taiwanese temple celebrations. They cover half of their faces with leather steampunk-style masks, beginning a group dance of strident marching. A section with the four dancers standing in front of one another is a highlight, as they interlock arms and sway heads and limbs in a fast rippling, hypnotic display. Solos allow each dancer to showcase body popping, headstands and sweeping kicks and backflips. The 40-minute work is a fusion of east and west, where traditional Asian fitness movements, including tai chi, become interlaced with contemporary dance. The pace is fast, quickening until they seem to find a flow state of jagged animalistic shapes and battle sparring, with the gentle ting of tiny hand bells conjuring up ancient rituals. (Claire Sawers) n Assembly Dance Base, until 30 August, 6.40pm.

DANCE & CIRCUS

M.I.S. ALL NIGHT LONG The Men In Sandals return as Don Gnu hark back to their breakthrough show which considers the state of masculinity through slapstick and stunts, all the while putting their physical limits to the test. n Zoo Southside, 18–30 August, 12.30pm.

MAIDEN MOTHER WHORE

DANCE & CIRCUS

HIGHLIGHTS

Local company Theiya¯ Arts Dance Collective explore the intricate knot of relationships that exists between women, social structures, health policies and institutions through movement and multimedia. n Assembly Dance Base, 18–30 August, 5.30pm.

INALA

A late addition to the EIF bill, choreographer Mark Baldwin’s work originally premiered in Edinburgh back in 2014 but its celebration of both South African and western culture will undoubtedly stand up today. n Lyceum Theatre, 14 & 15 August, 7.30pm; 15 & 16 August, 2.30pm.

CIRCA: WOLF

THE SUMO SHOW

Liberating, anarchic and savage, the wolf stands in for our untameable selves. That’s Circa’s take on the symbolic animal as they continue smashing box office records with their vital approach to the circus genre. n Underbelly Circus Hub, until 29 August, 6.20pm.

Another first as sumo (finally) hits the Fringe. Performed on a dohyo (or sumo ring), the production combines authentic demonstrations with theatrical staging, dramatic visuals and immersive sound. n Underbelly George Square, until 31 August, 6pm.

360 ALLSTARS A mere two million people worldwide have witnessed this vibrant concoction of BMX, basketball, breakdancing, beatboxing, acrobatics and drumming from Onyx Productions. n Assembly Hall, until 31 August, 3.50pm.

TELL ME

After the triumph of The Chosen Haram, Sadiq Ali returns to the Fringe with this fusion of dance, circus and storytelling that explores HIV through a contemporary and compassionate lens. n Summerhall, until 31 August, 7pm.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 75

Discover SUSHISAMBA Edinburgh located on the 10th floor of W Edinburgh offering panoramic city views alongside its signature blend of Japanese, Brazilian and Peruvian cuisine.

sushisamba.com/locations/edinburgh @sushisamba.edinburgh 76 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

THESE VIOLENT DELIGHTS

FILM

Subtitled ‘Juliet’s Dance On The Edge Of Eternity’, this is an unconventional reimagining from Scottish Ballet of Shakespeare’s story about ill-fated young lovers. Co-directed by that company’s artistic director Christopher Hampson and documentary filmmaker Oscar Sansom, the piece explores identity, love and transformation through movement. Juliet awakens from a fever dream but hallucination and memory continue to blur reality on this kaleidoscopic journey. (Brian Donaldson) n Cineworld, 14 August, 3.45pm; Filmhouse, 14 August, 8pm; Cameo, 15 August, noon, 3pm.

FILM list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 77

FILM

To the extreme

Takashi Miike’s filmography is as prolific as it is mind-bogglingly diverse. With his darkly shocking 2001 movie Visitor Q screening as part of the Film Festival’s Retrospectives strand, Kevin Fullerton explores the maverick Japanese director’s controversial career and reputation as a provocateur

udition is filled with many startling sequences, but one key scene is etched indelibly on the retinas of anyone who’s watched it. A rotary phone rings on a table in the middle of a small room in a sparsely furnished Japanese apartment. In the foreground, a thin woman in a white dress sits hunched and limp, long black hair obscuring her face. The phone continues to ring, intense and unsettling. Then, in the background, a large burlap sack moves; twitches more like. There’s something in there. A person. And they’re alive. In that one tiny movement which lights up the amygdala in a primal lurch of panic, director Takashi Miike steers a languorous relationship drama into a viscera-strewn, alarmingly credible horror. With more than 100 film and television titles to his name, Miike’s stylistic tics are ever-changing and hard to pin down, but the rug-pull moment of Audition is one of many in a career typified by feints, misdirection and violence. Refusing to be constrained by the trappings of genre, his work includes a quiet historical epic that segues into a kinetic 40-minute action sequence (13 Assassins); a garish musical about a guest house where patrons keep dying (The Happiness Of The Katakuris); a meta-horror about Japanese folklore that descends into Junji Ito-inflected body horror (Over Your Dead Body); and the indefinable Zebraman, in which a down-on-his-luck teacher decides to dress up and fight

78 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

crime. Miike often feels like a scientist testing how much flex a genre has before it buckles under the weight of his imagination. For good or ill, his lithe approach to form is often overshadowed by his visceral attitude to, well, viscera, and his unflinching representation of upsetting imagery and subject matter. The splatter horror Ichi The Killer, in which a psychologically damaged member of the Yakuza enacts an over-the-top killing spree, remains infamous for what was then marketed as a new type of cinema emerging from Hong Kong, Japan, South Korea and Thailand: ‘Asia Extreme’, which meditated on censor-baiting transgressive acts. Hugely successful on the UK DVD market, Miike’s outré sensibility made him a favourite with a newly Japanophile cohort of young adults experiencing east Asian filmmaking for the first time. Unlike his peers Park Chan-wook and Hideo Nakata, Miike’s reputation as a provocateur has never quite faded despite his varied filmography, in part because his challenging features of the early 2000s (Audition, Visitor Q, Ichi The Killer and Gozu) made him notorious. Yet embedded within his unique brand of weirdness is a deft interrogation of violent impulses, merging nightmare logic, body horror, merciless humour and uncomfortable human truths. Like the burlap sack rocking to and fro in Audition, he’s fascinated by the often ugly nature we all hide. His job is to untie the knot. Visitor Q, Filmhouse, 15 August, 8pm.

13 WITH THANKS TO OUR SUPPORTERS

19 August 2026 edfilmfest.org

2026

AWARDS FRIDAY 28 AUGUST | W HOTEL, EDINBURGH

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 79

SHEEP IN THE BOX lllll

FILM

Japanese auteur Hirokazu Kore-eda (Air Doll, Shoplifters) returns not quite at his best with this futuristic AI fable. Architect Otone (Haruka Ayase) and her construction worker husband Kensuke (Japanese TV comedian Daigo) live together in the house she designed and he built. But absence is keenly felt; two years earlier, their seven-year-old son Kakeru died. Unable to cope with the grief, Otone signs up for REbirth, a tech company capable of creating lifelike human replicas. Before long, a sentient being (Rimu Kuwaki) who looks exactly like their lost son is brought to them. Avoiding the usual doom-and-gloom that comes with AI stories, Kore-eda crafts something akin to Steven Spielberg’s AI Artificial Intelligence, albeit here focusing less on the robot boy’s feelings than those of the mother and father. Can a synth ever replace the real thing? Will they grow up and leave the home just like a real boy might? Exploring issues of nature and technology as well as our relationship to loss, it’s a thoughtful work, benefitting from delicate production design that makes this future feel all too near. Sadly, though, it’s not the most satisfying of third acts; awash with sentiment, it lacks true emotional impact when it really matters. (James Mottram) n Cameo, 14 August, 9pm; Cineworld, 15 August, 12.30pm; Filmhouse, 16 August, 2.30pm.

EXTRA GEOGRAPHY lllll

˘ Bafta-winning director Molly Manners makes her feature debut with coming-of-age drama Extra Geography. Minna (Galaxie Clear) and Flic (Marni Duggan) are Cambridge-bound, eschewing boys and fun to focus on their studies at a prestigious all-girls boarding school. But the pair’s latest self-improvement project changes everything when they decide to make themselves fall in love with their frumpy geography teacher Miss Delavigne (Alice Englert), and once-hidden desires and envies bubble to the surface. Manners imbues this tale of fraught female friendship with an offbeat charm, complete with ornate title cards and classical-inspired score. While it sticks firmly to the coming-of-age genre’s conventions and plot points, Extra Geography offers less certainty than others of its ilk, to its benefit. The film plays with relationships, identity and sexuality, but never forces itself into neat conclusions. The final result is painfully relatable in the best way and doubly so for anyone who’s ever attended an all-girls school. (Isy Santini) n Cameo, 15 August, 4pm; 16 August, 10.30pm; Cineworld, 16 August, 8.30pm; Filmhouse, 17 August, 12.15pm.

DOUGLAS GORDON BY DOUGLAS GORDON lllll There has always been a performative element to the work of Douglas Gordon, the Turner Prize-winning Scottish artist responsible for groundbreaking landmarks 24 Hour Psycho and Zidane: A 21st-Century Portrait. In this self-deprecating, confessional film, the artist lays bare his own demons. Seen setting fire to a bunch of flowers while he photocopies them or torching a grand piano on a beach, Gordon’s enfant terrible actions suggest his willingness to be seen as ‘playing to the crowd’. Discussing his art, he makes an incisive remark: ‘If it wasn’t me who did it, I’d probably like it more.’ A self-proclaimed Jehovah’s Witness boy from Maryhill, Gordon is pictured on camera cutting impishly about his chaotic Berlin studio in a football strip with Maradona’s name and number on the back or emerging from underneath a giant white camouflage net. Yet the scars under that shirt from a hernia operation look painfully real, as do raw emotions displayed as he wells up in tears talking to his mother on the phone. This unexpected intimacy sets the scene for uncomfortable footage of Gordon unravelling in a Rome hotel room due to not being present for his son’s birthday. So how much of the drama described in Douglas Gordon On Douglas Gordon should be taken as gospel? In Finlay Pretsell’s slippery, deeply personal documentary, overt creative evasiveness gives way to blunt honesty, an artist revealed through reflexive games played with his audience. (Eddie Harrison) n Filmhouse, 17 August, 8.30pm; 18 August, noon; 19 August, 2.30pm, 3pm.

80 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

FILM

HIGHLIGHTS

Karl (John Hannah) wakes up in a strange hotel bed, a corpse lying in the tub and police keen to ask him a few questions. We’ve all been there. This is, as the title suggests, just the beginning of a pretty miserable time. n Cameo, 13 August, 11.55pm; Cineworld, 14 August, 9pm; 19 August, 8.30pm.

FILM

ANIMATION SHORTS

BAD DAY AT THE OFFICE

For those who like their cinema in snippets, this year’s collection of animated shorts features the experimental to the ambient and the hilarious to the poignant, with subjects including war, intimacy and grief. n Cineworld, 15 August, 7.15pm; 17 August, 1.30pm; Cameo, 16 August, 12.45pm.

SNAPSHOT A fresh spin on the found footage genre, this horror debut from director Joseph Archer takes us back to 1888 as a pinhole camera captures the strange downfall of an allfemale ghost-hunting crew. n Filmhouse, 15 August, 6.30pm; Cineworld, 16 August, 5.45pm; 18 August, 10.15pm; Cameo, 17 August, 11.15pm.

THE MAD WORLD OF HARVEY KURTZMAN Directed by the brilliantly named Bart Simpson and, weirdly, featuring Matt Groening among its talking heads, this portrait is of the man who created Mad, the iconic satirical magazine which continues to the present day. n Filmhouse, 16 August, 3pm; Cineworld, 17 August, noon; 18 August, 4.15pm; Cameo, 18 August, 1.30pm.

HOPE This sci-fi epic from cult Korean filmmaker Na Hong-jin gets the one-off Imax treatment to best show off its unhinged and ferocious aspects as the cops and residents of a village fight back against a mysterious rampaging monster. n Cineworld, 16 August, noon.

PRETTY BABIES

BODYHACKERS

A former dancer, Tyler-Marie Evans produces a melancholy-infused directorial debut about two teenage girls who run away to Hollywood only to find that seedy darkness rather than a starry future awaits. n Filmhouse, 14 August, 9pm; Cineworld, 15 August, 9pm; 18 August, 10pm; Cameo, 16 August, 8pm.

The Film Festival wouldn’t be complete without a little spot of body terror and this Cronenbergian dissection of the cosmetic industry is just what the plastic surgeon ordered. Carlos Conceição directs and Elina Löwensohn plays a sinister doc. n Cineworld, 14 August, 9.30pm; Filmhouse, 15 August, 10.15pm; 16 August, noon.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 81

KIDS

QUENTIN BLAKE’S MRS ARMITAGE ON WHEELS Almost 40 years old, Blake’s tale of a woman who sets off for a gentle bike ride alongside her faithful pooch, Breakspear, comes to the Fringe. Adapted from the BBC animated series Quentin Blake’s Box Of Treasures, we meet an eccentric inventor who can’t get anywhere because she’s always coming up with grand plans on how to improve her bicycle. (Brian Donaldson) n Assembly George Square, until 30 August, 11am.

82 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: KIT MCCARTHY

THE MYSTERY OF PLEASANCE TWO lllll

KIDS

Part Cluedo puzzle, part TV game show, this inventive and engaging piece, co-produced by puppet wizards Little Angel Theatre, takes the beloved (and frankly surreal) genre of cosy murder and turns it into a live, family-friendly crime-solving quest. The whole show is performed by co-creator Danyah Miller, who adopts the role of gamesmaster and detective with fabulous gusto, whipping around the stage, moving little figures on a theatre maquette and pinning pieces of evidence to a corkboard. The scenario is that of an actress murdered mid-performance and, in true Agatha Christie style, each suspect has their own simmering motive for bumping the victim off. The show is divided into rounds to determine the suspects’ alibis and secrets, while background music flips between golden-age-of-murder jazz and quiz show electro-pulsing. Meanwhile Miller encourages the children in the audience to question the suspects or pick out various pieces of evidence. Inevitably, being written in a board game format (which leads to different guilty parties in different shows), the characters and their motives feel a little tenuous; it could really be any of them. But Miller’s performance buzzes with energy from start to finish and this is a highly original way to keep little minds engaged. (Lucy Ribchester) n Pleasance Courtyard, until 16 August, noon.

DARRYL J CARRINGTON: OUT OF THE BOX lllll

PICTURE: ANDRE PATTENDEN

Darryl J Carrington has spent over two decades clowning around and every bit of that experience shows in this delightful hour. Although aimed at a pre-primary audience, there’s plenty for the whole family to enjoy, plus the completely non-verbal clowning means there are no barriers to understanding here. ‘He’s quite silly, isn’t he?’ declares one wee girl a few minutes in; you suspect the feedback will warm Carrington’s heart after juggling, bubbleblowing and generally getting the whole room involved in his shenanigans. There’s nowhere for the grown-ups to hide either, with reluctant adults being called from their seats by the creation of chalkboard portraits, a gorgeous original idea. The final moments bring real jeopardy, with a balancing/juggling trick that’s both daft, funny and daring. ‘That’s quite dangerous,’ announces the tiny reviewer in training and she’s right enough. It’s also quite difficult to pull off but Carrington is more than equal to the challenge. (Jo Laidlaw) n Underbelly George Square, until 31 August, 1.20pm.

TED HILL TEACHES YOU SCIENCE, MOST OF WHICH IS TRUE lllll Ted Hill of Britain’s Got Talent fame (and no, he’s definitely not bitter about being beaten by a dog) has hauled his test tubes, beakers and empty plastic bottles to Edinburgh for a display of definitely-do-not-try-at-home experiments. Miles more fun than any school physics lesson, Ted Hill Teaches You Science, Most Of Which Is True walks young audiences through concepts such as pressure, expansion and catalysts, with eye-catching demonstrations such as igniting bubble mixture and the classic Coke and Mentos combo. As the show goes on, Hill works his way up to a full-on bottle rocket launch across the room, an experiment so forceful that audiences are required to cover their ears. He strikes a perfect balance between educational and humorous, keeping his explanations simple and jokes plentiful, with lots of witty asides to the adults. Hill’s standoffish humour creates a fantastic back-and-forth between young ones eager to challenge him, while his natural affability prevents the tinies from getting too rowdy. The hour consists of much the same demos often found in kids’ science shows: small explosions, big flames and fizzing bubbles. But Hill creates a very palpable sense of danger through it all with his scatterbrained persona. Even the parents in the room wait with bated breath when it comes time for him to set his bare hand on fire, making it all the more satisfying when he inevitably pulls it off without a hitch. (Isy Santini) n Assembly Roxy, until 30 August, 11.10am.

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KIDS

BATSU! PRESENTS GANBA!! lllll

Fringe stalwart Spencer Jones has taken a turn towards family-friendly comedy this year, with a fast-paced, prop-based show aimed squarely at a primary school-age audience. There’s something hugely likeable about Jones’ shambolic stage prowling and massive grin. He quickly brings even the quietest of kids out of their shell, while the tiny extroverts and sideways thinkers in the crowd immediately recognise one of their own. When the two come together, it creates moments of spontaneity that are genuinely joyful and unpredictable, both sides working each other out as they add another layer of laughter to the joke. The premise, such as it exists, is that this is simply a kids’ version of his adult show; story-free, with nothing parents wouldn’t want wee ones to see. A fair description, but you sometimes feel he’s going from bit to bit to see what sticks. That means the energy can dip when some jokes fly over the head of bairns who really do not care about covid, for example, even as the gag elicits a groan of appreciation from the adults. A through-line more directed to the audience’s worldview would build the laughs right through the set. But overall this is an enjoyably daft hour of anarchically silly fun that kids will love. (Jo Laidlaw) n Pleasance Courtyard, until 16 August, 11am.

PICTURE: JONNY RUFF

THE SPENCER JONES EXPERIMENTAL KIDS SHOW lllll

This is New York-based Batsu!’s fourth year at the Fringe, with Ganba!! their first family show. Set in the ‘Batsu Dojo’ (a black stage with a backdrop of paper panels) and based heavily around ninja history, it’s the right kind of show for today’s Japan-obsessed kids. Comedy protagonist Steve, a ninja in training, throws out references to Pokémon, KPop Demon Hunters (even though it’s based on a Korean story) and Squid Game (also Korean), instantly winning over most kids in the audience. A smattering of toilet humour and slapstick elicits titters from both children and adults. Mariko Iwasa’s authoritative Sensei Mariko drives the performance, commanding participants through a series of games and martial arts-based moves to battle the malevolent force of Batsu. Diligent shinobis Yurika Ono and Rina Maejima show off katana skills, flips and dance moves while Steve Zegers (who plays Deshi Steve) injects the big comedy. The games, while hugely enjoyed by volunteer kids and adults alike, take a while to set up, leading to a dip in pace and wandering attention. There are clear winners and losers, but participants all go home with a small prize. A slow starter, it’s only in the final 20 minutes when the audience are on their feet copying Sensei Mariko’s moves that it really feels like the interactive experience that was promised. There’s a cursory nod to a moral at the end (teamwork being the way to overcome Batsu), but it feels somewhat tackedon and unnecessary. After all, we’re here for super-cool ninja moves and Pokémon references. (Suzy Pope) n Underbelly Bristo Square, until 16 August, 11.05am.

MAX FULHAM’S MONKEY BUSINESS lllll

84 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: KARLA GOWLETT

Max Fulham’s Monkey Business almost belongs to a different era. Fulham is a ventriloquist, a skill that feels vanishingly, eccentrically rare these days. Impeccable at his craft, with a choreographic timing that is balletically precise, he whips through banter with a range of puppets, each with their own personalities and ways to cause mischief onstage. The setting is an office, a place of boring, inexplicable grown-up things like ties and LinkedIn. Fulham turns this on its head through daft presentations, audience interaction and a roster of misbehaving animal colleagues. His jokes and puns are fabulously groan-worthy (think Olaf Falafel crossed with that guy from marketing) and his rapport with the kids in the audience is beautifully gentle, playful and empowering. Plus, as a bonus, he teaches the young ones how to make a puppet out of just about anything. Max Fulham may have an appetite for nonsense but his skills are dazzling. (Lucy Ribchester) n Gilded Balloon Teviot, until 16 August, 11.50am.

KIDS

HIGHLIGHTS

Despite that title, this is arguably a show the Bristolian comic has been working towards his whole career as he gets to entertain the kids. Watch the non-cursing chaos ensue. n Pleasance Courtyard, until 16 August, 2.45pm.

PICTURE: RERE CHANG

Fantastic adventures can be sparked by ordinary objects, as this 40-minute show proves. Created especially for young audiences with specific mobility or sensory needs, it’s an empowering early morning affair. n Space Niddry Street, until 15 August, 9.25am.

KIDS

PLACES I GO FROM MY BED

MARK WATSON TRIES TO IMPRESS CHILDREN, FOR SOME REASON

SEEDHEART With an environmental message at its core, this show by Indigo Moon Theatre features Grey who somehow finds themself stuck inside a jar. How did they get there and who can set them free? n Pleasance Courtyard, until 31 August, 11.10am.

TONGUE TWISTER

A CLOWN’S LULLABY

Featuring music, dancing and costume changes, Greg Sinclair aims to say as many tongue twisters (hence the title) in as many languages as possible within the course of 50 minutes. n Pleasance EICC, until 22 August, 11.30am.

When her pal Loo Krayina is upset by Mr Bellicose, it’s time for our happy clown to get involved in order to somehow make things right. The key: endless silliness. n Rotunda Theatre, until 18 August, 2pm.

DID YOU HEAR WHAT I SAW? The Two Toms (GK and Skelton) have made the most of being without sight (Skelton) and hearing (GK) to come up with an enchanting show which is all about living and thriving with a disability. n Underbelly George Square, until 16 August, 2.15pm.

THE LETTERMAN Merging clowning, puppetry and, yes, audience participation, the award-scooping Bryce FlintSomerville is having trouble getting the alphabet to stay in order. Chaos thoroughly ensues. n Gilded Balloon Teviot, until 31 August, 11.45am.

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14 COMEDIES 12 TRAGEDIES 10 HISTORIES 1 BIG

PUCKING MESS

86 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

MUSIC

THEON CROSS A core member of the trailblazing Sons Of Kemet collective, this tuba master has very successfully struck out on his own with two studio albums Fyah and Intra-I. Cross started his musical education at the age of eight while playing the tenor horn but switched a few years later to pick up the instrument that has made his name and garnered him acclaim. (Brian Donaldson) n La Belle Angele, 12 August, 7pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 87

The T Th e Mid-Fe Mid-Festival F sti Fe tv ti val Hit Eve Everyone v ry ve ryo yone is i Ta T Talking lki k ng About! ki

“EEXCEPTIONAL.... BRILL “EXCEPTIONAL... BRILLIANT LIAANT SHEER”

RON PLACONE'S

THE E SCOTSMAN N

MOVIN’ M OOV VVIIN’ M MELVIN ELLV VVIIN OVI BBROWN ROOW W N BRO WN

Hit The Road Jack! The Music & Story of

RAY CHARLES

BLUES, COUNTRY, JAZZ SWING, ROCK N’ ROLL, POP AND TAP DANCE

*PA STA NO T ACT UAL LY INC LUD ED

Songs of Ray Charles, Sam Cooke, Nat King Cole, The Beatles and more!

AUGUST 6-30. 15:45 (3:45PM)

"Songs that never sounded better, even by Ray Charles standards!" ‘Living legend’ - Clive Anderson (BBC)

THE LIST, Edinburgh

WINNER

2026

BOOK YOUR TICKETS HERE

INSPIRE SOCIAL JUSTICE AWARD

Not in the Printed guide!

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for Assembly 18:35 (1 hour) 17 - 30 AUG (not on 24th)directly George Square.

THE SONG OF THE ICE Steve Garrett

Earth history, icequakes and climate signals: a personal response to polar history and environmental change “… wonderful show …” Sarah Barnard, Polar Artist “… amazing and interesting …” 10th Korean Arctic Academy “… beautiful music from carbon data …” Adam Sutherland, award-winning composer

“…lovely and haunting and startling music … very diverse Q&A …” University of St Andrews, Energy Ethics Conference

20:30 August 13-15, 18-20, 26-28 artspace@stMarks 7 Castle Terrace EH1 2DP

88 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

“We laughed & learned about the surprising link between the Italian resistance, pasta, & defeating fascism.”

The drawback of Scottish guitar whiz Sean Shibe’s popularity is that a packed performance calendar isn’t leaving much time for settling into his new home. Putting domestic affairs aside, Shibe finds time to chat to Danny Munro about the contemporary composers inspiring him ahead of his International Festival debut

MUSIC

Sean Shibe, Queen’s Hall, 13 August, 11am.

PICTURE: KAUPO KIKKAS

Passion

play

e it members of the Berliner Philharmoniker or contemporary royalty Sheku Kanneh-Mason, the Queen’s Hall will transform into a hub of chamber music excellence six mornings a week throughout the International Festival. Included in its line-up is local boy Sean Shibe, a virtuoso guitarist bringing an intriguing programme of British and Iberian sounds to his home city. Shibe’s forthcoming recital is centred around two celebrated contemporary composers. ‘The first is Francisco Coll, who’s a Spanish composer from Valencia. He’s written a guitar concerto already, but this is now his first pretty substantial work, “Sefarad”, which is about 20 minutes long, with four rhythms,’ explains Shibe, who is in the middle of moving flat and has spent his day unpacking boxes. ‘The second composer is somebody who used to teach me, Thomas Adès, who is arguably the greatest living composer. He has written a piece, also his first for solo guitar, called “Forgotten Dances”.’ Growing up, Shibe was the lone guitar player at the state-funded City of Edinburgh Music School, an institution he departed in his early teens when offered the chance to be taught by internationally acclaimed guitar professor Allan Neave at Aberdeen City Music School. After a successful stint under Neave’s wing, Shibe enrolled in the Royal Conservatoire Of Scotland, aged just 16, and by 20 he was already selling out performances, before graduating with first class honours.

It comes as no surprise then, to hear Shibe speak of his favourite composers with encyclopaedic knowledge and a genuine passion. ‘So I think what’s interesting about Francisco’s music is that he doesn’t look to that sentimental vision of Spanish culture . . . it’s something much more guttural,’ Shibe muses. ‘That comes across really clearly in his compositions, that it’s an organic thing, sometimes quite spasmodic in its phrasing.’ Adès, Shibe notes, is also fascinated by the history of the instrument, though inspects the guitar from a contrasting perspective. ‘Adès then looks to the guitar as a relative of the lute . . . and the lute was the instrument of the aristocracy in the church, the nobles . . . so I’ve kind of placed them together in this context.’ You could speak to Shibe all day about the chronology of stringed instruments and it would almost certainly be the most interesting conversation you had all week: his fervour for his craft shines through the camera as he spends the Zoom call explaining the history of blind guitar players in Spain in the 19th century. This enthusiasm is evident in his playing, something that caught the attention of the bookers behind NPR’s viral Tiny Desk Concert series, on which Shibe was one of the first contemporary classical guitar players late last year. A busy calendar awaits the Leonard Bernstein Award winner following his International Festival performance, with recitals across Europe, the United States and Canada pencilled in for the closing months of 2026. When put to Shibe that he may not get a chance to spend much time in his new flat, he quips: ‘No, but I’ve got to pay for the renovations, somehow.’

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 89

MUSIC

THE GALLOPING CURE lllll

PICTURE: ANTONIA BAIN

ACID’S REIGN lllll Acid’s Reign, the climate cabaret formed in the clink, is making climate change hot (again) in this absolute barnstormer of a new musical that manages to be both a thoroughly enjoyable camp riot and to ask some provocative questions of its audience. What’s more important: staying radical or staying visible? How do you balance idealism with realism, particularly when the bad guys never take a day off? And why are we mucking about with our bags for life when the planet is burning? There’s plenty of sugar to help this politically pointy medicine go down, with fantastic original songs, gorgeous costumes, a smart yet simple set and absolutely stunning performances from drag luminaries including Victoria Scone and Scarlett Harlett. All individually note-perfect, their blend is faultless too. It feels unfair to single anyone out, but Olive Branch (Ash Weir) almost steals the show with a ‘list’ song that’s as technically difficult as it is perfectly performed. The script is full of waspish one-liners and it all goes at a cracking pace, taking hits along the way at TikTok activism, payment in ‘exposure’, and who we’ll throw under the bus to get our shot. All that, and a tap solo too? Long may she reign. (Jo Laidlaw) n Pleasance Courtyard, until 31 August, 3.45pm.

THE BREAKUP VARIETY HOUR lllll The Breakup Variety Hour is a debut Fringe show by Ariana And The Rose (which is, our host tells us, her first and last name). She takes us through the six steps of heartbreak, telling personal stories punctuated by songs. Ariana talks about finding a new version of yourself after a breakup, but the show doesn’t feel particularly fresh. The tales she tells as she explains these steps tread well-worn ground, from initial anger to getting back out there. Attempts to involve the audience fall slightly flat with a low-energy crowd, although she does a stellar job of trying to encourage interaction. It’s the music that’s Ariana’s strength. A confident performer, with a Disney-esque voice, her songs run the gamut from ballads to peppy pop, showcasing real versatility. Those tunes hint at something better but the show as a whole never quite gels. (Lauren McKay) n Assembly George Square Studios, until 31 August, 5.20pm.

90 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

It’s a truism of life that when we’re in extreme, prolonged pain, we’ll do pretty much anything to make it stop. The opening phrase of this new opera cuts straight to the heart of that, as the occupants of a failing industrial town opine that their pain is dull in the morning, sharp by afternoon. Third generation doctor Theresa Hart attempts to help, but can do little more than hold their hand and empathise, for she too is crippled by migraines. When carousel owner Lucky Mack arrives (the Sackler family and Purdue Pharma, key peddlers of highly addictive opioids in the US, are never mentioned but that’s who we’re dealing with here), offering them a go on his pain-relieving horses, everyone signs up. By swapping pills for fairground rides, Karen Russell’s imaginative story has a wonderfully surreal edge; we all know what the horses really represent, there’s no need to spell it out. Missy Mazzoli’s music whips along as if we were riding too, while Royce Vavrek’s libretto and Tom Morris’ direction are heartfelt and highly accessible. Quite why a flock of sheep and two family dogs (witty as they are) have been corralled into proceedings, working as a kind of Greek chorus but reducing gravitas, is hard to decipher. Equally, the initially poor relationship between Hart and her daughter reduces the emotional impact of later tragedy. But the excellent cast, and truly stunning set and lighting design by Rebecca Ringst and Lucy Carter respectively, make this a feast for the eyes. (Kelly Apter) n Festival Theatre, 12 August, 7pm.

LITTLE PINK DRESS lllll

MUSIC

PICTURE: SAM BROOKS

Little Pink Dress is a voyage to LA, a story of personal growth, childhood abandonment and addiction, all wrapped up in a cowboy cabaret. An autobiographical musical, it shows us Joey Jennings’ world through catchy country songs and choreographed moments of his life. We’re lifted into a high-energy selection of laughs levelled out with lows that feel heartfelt within a well-polished performance. Beginning with a ton of fun, the mood often changes, describing the protagonist’s relationship with his family and romantic interests while lingering over mental scars from the past. Emboldened by a prolific imagination and an infectious sense of humour, Jennings leaves everything on the stage and his lyrics have a quick wit that makes it hard not to smile throughout. Learning about the nuances of gay life, the nostalgic comfort of a favourite little pink dress, seeking fame and the stress of holding it all together is both cathartic and comedic. Sadly, the longer runtime and darting plot lines make the piece feel quite repetitive, leaving the viewer a little antsy by the end. With a reshuffle and a couple of cuts, this has the makings of a perfectly tailored piece of musical theatre. (Rachel Morrell) n C Aquila, until 30 August, 5.35pm.

ANTIGONE 1989: A TOWN HALL MUSICAL lllll

PICTURE: SOTO

This new musical theatre update of Sophocles’ tragic tale comes wrapped in a neat set-up: The Oracle (beautifully sung by Helena Padial) has called us to the town hall to make a decision. Will we use our one precious voice for good, or choose to stay quiet? Set against the background of the Aids crisis and with a new dictator in charge, it’s impossible to ignore the parallels with today’s world (maybe that explains our enduring fascination with the Greek tragedies). Some clunky spoken lines mean the cast sometimes struggle to land the emotion, but there’s tons going for this show, not least the faultless singing and a cracking set of songs that (for once) do exactly what they’re supposed to do: move the action, build emotion and make us feel our feels faster and deeper than words alone can do. The musical skills on display are exciting and make this definitely worth catching for fans of the genre. (Jo Laidlaw) n Gilded Balloon Patter House, until 29 August, 3.05pm.

‘Fuccbois: they’ll break your heart’. This lyric comes from one of the many relatable, relevant and rollicking songs that will be stuck in your head after seeing this satirical musical comedy poking fun at, you guessed it, fuckboys. Fuccbois: Live In Concert is based on a fictional Australian boy band performing their last ever concert (so they think). The strong female-led cast, all clad in awfully relevant attire inspired by what some contemporary men wear, have the room pumped from the very beginning. With songs such as ‘Slow Fade’, ‘Rich Dad’, ‘Three Little Words’ and ‘Gaslight Shanty’, the show hilariously tackles toxic dating culture while giving glimpses of the sensitive side of masculine men who are failing spectacularly to properly support the feminist cause. There is never a dull moment, with the cast’s chemistry and comedic timing keeping the energy high throughout, each song bringing another ridiculous characteristic of the stereotypical fuckboy to life. What makes all this particularly entertaining is that beneath the jokes and catchy songs, there is a recognisable commentary on modern masculinity, dating and the increasingly complicated world of relationships. Fuccbois: Live In Concert is the perfect quick hit of comedy, music and satire. Whether you’ve encountered a fuckboy yourself or simply want to laugh at the absurdity of contemporary dating, this will have you laughing and probably questioning every ‘hey stranger’ text you receive afterwards. (Steven Andrew Brown) n Assembly George Square Studios, until 31 August, 5.05pm.

PICTURE: PHOTOBAT ALAN

FUCCBOIS: LIVE IN CONCERT lllll

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 91

Stage Whispers

The Barefoot´Review

Weeken Notes

14:30 18 - 30 AUG

ASSEMBLY ROOMS: BIJOU

92 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

Arts Review

Markus Presents

A e ai e A vertiser

MUSIC

HIGHLIGHTS DEAN FRIEDMAN

A 90-minute show with no fat attached as the singer-songwriter/keyboard, guitar and harmonica maestro delivers one hit after another. You’ll most likely know ‘Lucky Stars’ but there are plenty more bangers besides. n New Town Church, 15 & 16 August, 7.30pm.

MUSIC

FRAMES

Seattle-based violin looping artist Jon Andrew Franklin merges songwriting with storytelling as he brings us a show all about memory, identity and the stories we inherit. n C Aquila, until 16 August, 9.40pm.

GNOSS

One of the nation’s top contemporary folk outfits, this quartet utilise guitar, fiddle, flute, bodhrán and vocals to fine effect as they dip in and out of various genres and moods. n The Hub, 14 August, 10pm.

KLEIO QUARTET, MAKOTO OZONE & SHEKU KANNEHMASON Cellist Kanneh-Mason hooks up with pianist Ozone and BBC New Generation Artists Kleio Quartet for an intriguing programme which is comprised of Schubert’s String Quintet In C and Bartók’s Piano Quintet In C. n Queen’s Hall, 19 August, 11am.

THE BLOODY BALLAD OF BETTE DAVIS Piper Theatre take us back to the mid-1970s with a musical fantasia about the film set where iconic Hollywood superstar Bette Davis is being treated horribly by those (men) seemingly offended by the prospect that a woman can get older. n Assembly Roxy, until 30 August, 3pm.

SOUND STROKES Subtitled ‘A Harmonious Blend Of Chinese And Scottish Music’, this 45-minute performance comes from Wan Xing, Gregor Black and Eleanor Dunsdon who aim to show that western and eastern traditions can complement each other perfectly. n Space Symposium Hall, until 15 August, noon.

MOZART’S DON GIOVANNI Don Giovanni is about to have a very bad day; but not before time as his womanising ways are wrecking lives. The Scottish Chamber Orchestra will lead proceedings as conductor Maxim Emelyanychev prepares to get into full flow. n Usher Hall, 16 August, 6.30pm.

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94 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

TheList_Full page_TTSBT+OHV.indd 1

16/07/2026 10:27

OUR OTHER ORGAN

THEATRE

PICTURE: JAKOB TEKIELA

This quote from Copenhagen-based choreographer, performer and somatic practitioner Boaz Barkan about his new piece that tackles the zone where body, identity and politics intersects is rather telling: ‘Our Other Organ is a place within all of us that stores racism and trauma (ideas of inferiority and superiority) that can transform us from victims to perpetrators.’ Wonder which nation he could be talking about? (Brian Donaldson) n Summerhall, 18–31 August, 4.15pm.

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Written by Gary McNair Directed by Orla O'Loughlin

TUE 18 - SUN 30 AUG

#TravFest26

96 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

THEATRE

Four Walls And A Roof finds Lebanese artists Rabih Mroué and Lina Majdalinie tackling historical and contemporary attacks on free speech and the troubling rise of the far right. The duo talk to Claire Sawers about polarisation, creeping censorship and why they’re afraid for the world

PICTURE: KFDA SYBILLE CORNET

PICTURE: CHRISTOPHE BERLET

abih Mroué, sitting beside his long-term artistic partner Lina Majdalinie, is talking about their upcoming play Four Walls And A Roof, which explores the parallels between their own lives and that of German playwright Bertolt Brecht. ‘There was an expression that Brecht used in the 1940s: a “cold execution”, like the same as the Cold War,’ says Mroué. ‘It’s not about prison sentences, it’s more subtle. Something that follows you around all your life. Not being invited, not being given work or arts funding. A silencing. Feeling isolated, unwelcome. An economic blacklisting. Like being cancelled.’ Brecht fled Nazi Germany in the 1930s and lived in Europe before settling in California. In the US, he worked in film and theatre until he was called before the House UnAmerican Activities Committee (HUAC) in 1947, accused of communist affiliations. The hearing was held via translators and Brecht sidestepped several questions by joking or pretending not to understand. He flew out of America the day after his hearing and ultimately settled in East Berlin. Mroué and Majdalinie were both born in Lebanon but have themselves lived in Berlin since 2013. They found a vivid cultural scene there and ‘really nice vibes’ initially but describe a very worrying creep towards tighter restrictions and shocking levels of censorship. ‘It was always there, but more hidden, it didn’t touch you personally,’ says Mroué. ‘October 7 was a turning point. Germany has become unashamed of showing their restrictions on freedom of expression. They found more excuses to silence voices.’ Majdalinie adds: ‘It begins slowly. On an application

PICTURE: CHRISTOPHE BERLET

A house divided

for curating a French festival, I was asked whether I would accept artists who support BDS [the Boycott, Divestment, Sanctions movement]. Either we allow boycotts or we don’t. It grows from there.’ Majdalinie found Brecht’s text about his HUAC trial in a Paris bookshop and the duo have been keen to create a theatrical work around it for years. ‘The text seemed to support our concerns and fears about censorship, the rise of the far right and a general polarisation all over the world,’ observes Majdalinie. ‘Either you are 100% with me or 100% against me. That’s really dangerous.’ ‘We’ve been fascinated about these issues for years, since back in Beirut; those notions of intellectual freedom and civil liberties,’ says Mroué. ‘Theatre is a place to hold a debate, without needing to come to a verdict, as opposed to a court.’ Their play, which is touring Europe and will travel to America, features 1930s and 40s songs from Brecht accompanied by live piano and singing by Henrik Kairies. The German musician knew both Brecht and his famous musical collaborator Hanns Eisler, who faced the same accusations. Do Mroué and Majdalinie feel scared about how their own careers could be affected by exploring these themes in the current political climate? ‘We came from Lebanon, so we were already doing things considered unacceptable,’ says Majdalinie. ‘I’m not afraid for myself. I’m disappointed by what is going on for many of our colleagues. I’m more afraid for the world. I wonder: “Where are we going?”’ Four Walls And A Roof, Studio Theatre, 14–17 August, 7.30pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 97

KIRSTY MANN: CORPSE  THEATRE

Kirsty Mann thinks she’s bagged a bargain when she finds her dream home for cheap. The roof is leaking, the floor is covered in rotting lino, but Mann is more than up for the challenge. Something she most certainly wasn’t expecting, though, was having to share said dream home with an angry, senile ghost. Corpse feels like hearing an anecdote told by a friend during a catch-up. Mann recounts each step in her spectral story with a self-deprecating smile, fully acknowledging and leaning into the ridiculousness of her apparently true experience. Parts of Mann’s tale must be seen to be believed, but worry not, she’s brought proof. Exhibit A: some truly horrifying portraits of rabid-looking dogs and a creepy cellist painted by the home’s previous owner and resident spirit, June. Exhibit B: a real book, written by June’s father about his daughter, entitled A Child Possessed. Corpse is certainly vivid, helped by Mann’s colourful characters. She may poke fun at her own attempt at an Irish accent, but few can muster up a better creaking old-woman voice than she can. Firmly in the realm of comedy to begin with, the show builds to a terrifying crescendo as Mann’s haunting intensifies. Loud bangs from an empty bedroom evolve into screaming corpses and full-blown apparitions. Even the most seasoned sceptic would be hard pressed to avoid a chill going through them in an hour that is as goosebump-inducing as it is hilarious. (Isy Santini)  Summerhall, until 30 August, 3.15pm.

THE TAO OF LLOYD 

PICTURE: DINA MORDENO

This likeable hybrid stand-up/monologue is a stage version of Dennis Trainor Jr’s successful podcast. Trainor plays Lloyd Dobler (John Cusack’s character in the 1989 film Say Anything), all grown-up, still fervently anti-capitalist and now, inevitably, podcasting. We join him at the end of a three-day wellness summit where Deepak Chopra was supposed to do the keynote but he’s ended up in the Epstein files. Once you get your head around the set-up, there’s a tightly constructed hour of smart and sly humour to enjoy, aimed at end-stage capitalism generally, and particularly pointy towards those who believe change is possible from within. Dobler’s got no truck with this; he doesn’t want to just move the Overton window, he wants to explode it. His weapons of choice? The Tao, a guided meditation and a new story, because stories are the only places where change is possible. Trainor’s world-building is strong and this thoughtful, provocative monologue both informs and unsettles. The writing sings: it’s full of phrases you want to chew over, the structure is satisfying, there’s plenty of emotion and it’s based on a set of truth bombs that will make your hair curl. The entirely American lens won’t suit all Fringe audiences but there’s plenty to think about and relish here. (Jo Laidlaw)  Assembly Rooms, until 30 August, 12.25pm.

SISSY BOY  Underneath breezy, Bristol banter, Jake Bickford draws us into a lonely world, where an online dominatrix becomes a boy’s closest relationship. We see the teenage main character’s paraphernalia: gaming chair, laptop, shoe box stuffed with lacy underwear. Pints of cider among mates result in bungled sex with a girl. Self loathing creeps into his late-night confessional, then drum and bass introduces a music festival scene. Bouncing in bucket hat and shellsuit, the main character kisses a boy when high, leading him to question his sexuality and masculinity. The boy’s isolation and humiliation feel crushing and concerning to the audience, even, or especially, as he chirpily glosses over things. Minimise, ignore, go online: that seems to be his coping strategy. While against kink-shaming others, he becomes increasingly ashamed of his own desires, just as his femdom mistress threatens revenge porn. His best mate’s suicide comes as a depressing shock, hinting at another man’s hidden pain. Engaging but frustrating, this queer theatre piece doesn’t arrive at any healing insights, but bravely examines the taboos that push certain behaviours and emotions dangerously underground. (Claire Sawers)  Space Surgeons’ Hall, until 15 August, 10.40pm.

98 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

A NIGHT OF COMEDY, VIOLINS & VIOLENCE

THE LIST, ADELAIDE FRINGE ‘26

JUST THE TONIC @ THE CAVES SYDNEY THEATRE REVIEWS ‘25 list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 99

PICTURE: THE FERN PHOTOGRAPHY

THEATRE

IN THE BLACK lllll This one-man dark comedy by Quaz Degraft engrosses the audience with its tale of Ghanaian-American Kofi Grady, a black man trying to make his way in the world of finance. Based on Degraft’s own experiences, Grady juggles friendships, family, heritage and a new romance while seeking his own golden path, increasingly finding himself under the pressure of moral dilemmas and a toxic workplace culture. Illustrated with precision and nothing but a couple of costume changes for props, Degraft masterfully switches between a cast of characters who surround Grady’s life and weigh in on future decisions with their own expectations, including his overbearing yet lovable father. Between aiming for financial highs and realising the costs that come with them, the writing manages to touch on important topics alongside race, including masculinity, consent and perceived social value, while still offering unexpected laughs. Landing between Atlanta and Wolf Of Wall Street, with wry humour and beautiful moments of folk guitar in between, Degraft’s ability to craft and tell this complex and affecting narrative is impressive. Degraft’s flawless performance ensures he’ll be one of the most exciting artists to see this August. (Rachel Morrell) n Underbelly Bristo Square, until 31 August, 2.45pm.

CROCODILE ROCK lllll

PICTURE: TOMMY GA-KEN WAN

This isn’t Elton tribute territory: the stone of the title, painted to look like a croc, is in Millport on the west coast isle of Cumbrae. This is the setting for Andy McGregor’s gallus one-man musical, powered by Darren Brownlie with megawatt Glesga energy. It’s a tale as old as time, as 17-year-old Steven grows up, comes out and realises he’s a smalltown boy who needs to leave home to be his true self. Brownlie shines on some belting tracks (kudos to Hilary Brooks on keys), affectionately recalling his ‘wee maw’ and his transformation to become ‘queen of the island’, with the audience rooting for him all the way. Lyrically, though, he’s let down by some clunky, clichéd rhyming. And so many songs are squeezed into the hour, it’s a shame a little more breathing room isn’t left for Brownlie’s Steven to just speak directly to us, which he does with real heart when given the space. (Paul McLean) n Gilded Balloon Teviot, until 31 August, 4.30pm.

SHAMANIAC lllll

100 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: RENEE ROGOFF

If you’ve ever wondered what happened to Deirdre ‘Dede’ Lovejoy, who survived five seasons of The Wire as assistant state’s attorney Rhonda Pearlman, well, it’s quite a story. In 2009, the year after that HBO drama wrapped, raddled by a broken engagement, the end of a love affair and the onset of menopause, Lovejoy suffered a series of seizures that left her struggling to walk or talk. Her memory was also affected to the point where she didn’t realise that the woman caring for her was her own mother. In her one-woman retracing of that experience and its aftermath, Lovejoy is upfront about the personal demons that swirled around in her life. Even as her career flourished, she battled with alcoholism and learning to accept her sexuality. The script, which touches upon a freak accident that nearly destroyed her hand, is raw and emotive. But Lovejoy is a warm and endearing performer who turns the small size of the venue to her advantage, creating a sense of intimacy that serves the story well. She also has an engaging turn of phrase, describing the out-of-body sensation she experienced at her lowest ebb as being ‘like a sausage coming out of its casing’. Lovejoy has clearly endured a lot and tried to pack all of that into Shamaniac, with the result that, as the hour progresses, the material becomes a little rambling. The anecdotes she squeezes in are interesting, but a sharper focus on her illness and the journey she made towards physical, spiritual and emotional recovery would make for a more dramatically satisfying piece. (Allan Radcliffe) n Greenside George Street, until 29 August, 4.15pm.

powerful and entertaining

Joh n B. is o Kea ne o ne f th e to p gr Irish eat writ ers, his play s in The clud Field e , Big Mag and gie Sive

“Sophia Wolbrom is going places” - The List

Buy Tickets

MUNSTER EXPRESS

the drama beneath the language (LEITRIM OBSERVER)

A tender and uproariously funny portrait of lonliness and longing and rural life

12:10 06 - 30 AUG

19:40 | Aug 7 - 30 | No Show Aug 18 Venue 234 | Wee Container 2 at Hoots @ Potterrow Potterrow Port (Underpass) EH8 9AA Instagram: @dangerplanshow Pay What You Can to Reserve in Advance

ASSEMBLY L ROOMS: BALLROOM LY

19 SHOWS 9 VENUES

EDINBURGH 2026

EATRE, OF NEW TH PRODUCER H LOT. T S N LU A R IS IB H V MOST CK WITH T A B r IS ET LONDON’S R kie McNai igbe • Fran ND CABA mi Adejuy esker COMEDY A t Bailey • De Gill • Max Ol

et e • Kanan ristopher Br rdikar Jack Rook Bohart • Ch • Tarang Ha r Project • Catherine cer Jones en on • Hotte tasha Sp ps • om tre Th Thea Xhloe & Na • !t ill Sh Frankie • W e of in en Br • Wom son • Salty Monk Show d Patti Harri un ro rg ey • Unde Temi Wilk

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 101

THEATRE

BADGERS lllll

PICTURE: PAUL BLAKEMORE

The fascination with true crime isn’t new: we’re a macabre bunch. From penny dreadfuls to Netflix specials, there’s money to be made from tragedy. Clawing open the ethics of creating content in this area, Malaika Kegode’s Badgers weaves an intimate story of grief with various side-narratives on missing persons, gig theatre, journalistic responsibility and a splash of crimson-coated folk horror. If that sounds like a lot, it is. But this Theatre Royal Plymouth production, created in association with Bristol Old Vic, balances these elements with only minor early-day technical hiccups and, admittedly, convoluted storytelling. Meles is navigating the impending loss of her renowned journalist mother alongside an eerie local legend of humans turning into badgers. Meanwhile, she’s launched a successful podcast in which she unravels a decade-old disappearance of musician Ben. Offstage voices and sound design weave seamlessly through precisiontimed audio recordings, maintaining an otherworldly edge, with the heart of the show’s atmosphere lying in this live acoustic landscape. Nestled in a sound-booth shell, musicians Beth Roberts and Joe Williams craft an exquisite, haunting musical tapestry that subtly binds the production together with folk-song elements, mingled with the crackles of terrestrial television and radio. With its stark monochrome palette splashed with visceral red, Rebecca Wood’s hypnotic design immediately removes the audience from reality, trapping us inside a space where myth and grief tangle. Kegode is an ethereal, compelling presence, delivering her rhythmic, poetic script with a magnetic grace that sits somewhere between Shakespeare’s Puck and a CBBC presenter. (Dominic Corr) n Traverse Theatre, until 30 August, times vary.

ASURA: AN ENLIGHTENMENT EXPERIMENT lllll Asura is a rambling solo work that considers ideas about AI and the quest for enlightenment, deliberately refusing any clear conclusions or performance trickery. Wayne Stewart clearly aims for an audience that isn’t expecting theatricality, rejecting performance both in the dramatic and social senses, preferring to offer a contemplative wander through his attempts at becoming enlightened. His thoughts on the subject are not especially profound: there is an irony in trying to be better when enlightenment promotes stillness and calm; rule-breakers often gain at the expense of the well-behaved; some Buddhist and Taoist teachings feature interesting ideas about consciousness. His amiability is winning and this meandering monologue offers space for contemplation on intriguing ideas; questions around AI and desire are provocative and there is a sweetness in the rejection of ostentatious theatricality. There’s a tension, too, between the traditional role of the performer as entertainer and Stewart’s insistence on avoiding emotional manipulation of the audience. (Gareth K Vile) n Zoo Southside, until 30 August, 5.55pm.

Fringe First winner Joe Sellman-Leava returns with Copycat, a solo show all about art, fascism and AI. Starting off with a quickfire round of truly excellent impressions (his Ian McKellen as Gandalf is uncanny), he takes us back to his school days and the advice given to him by an inspiring teacher: you can say a lot with your eyes. Through audience interaction and warmup games, Sellman-Leava proves just how wise his high-school drama teacher really was. Like many of us, he was originally ambivalent about AI, seeing it as an imperfect tool to make life a bit easier. Fast forward a few years and his industry is disappearing in favour of robotically regurgitated slop, all stolen from human artists. In the face of increasing uncertainty, Sellman-Leava starts digging and soon the same names begin popping up: Palantir, Peter Thiel, Elon Musk. It’s impossible to summarise a show that moves through ideas at such a pace, but Copycat is perhaps best described as a theatrical web. Sellman-Leava weaves memory, belief and fact into a thought-provoking tapestry that slowly reveals what a gift our humanity is, and what a tragedy it would be if we let it go without a fight. (Isy Santini) n Pleasance Dome, until 31 August, 4.10pm.

102 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

PICTURE: ANDZREJ SZYMANKSI

COPYCAT lllll

THEATRE

e •t

a he t r

review of the week

Jo Laidlaw believes that Lois-Amber Toole is a true star in the making as she conquers the competition in Slay, the story of a flawed yet sympathetic character who seeks an escape from everything

wentysomething Kit is on the run from her past and home in the North East, living in London, working in a fancy restaurant, seeking treatment (sorta) for PTSD and trying to escape her demons. Add in a pill box with enough anti-depressants to start a drum corps and a raging case of narcissism alongside its millennialfriendly chum (main character energy) and you’ve got Slay, a total joy of an hour. Of course, where there’s PTSD there’s trauma; the source of Kit’s is almost mundane in its heartbreaking familiarity for most of the women in the audience. But if that sounds bleak, do not fear, because this show is properly laugh-outloud funny with smart, well-landed one-liners that would not feel out of place in a stand-up set. It’s beautifully observed by writer, performer and rising star Lois-Amber Toole, who clearly has an eye for the ridiculous, ears that are keenly tuned into the things young women say when men aren’t listening, and a sharp enough pen to give Kit the chance to say stuff we all think (24 hours later, a particularly well-placed comment about a baby’s deformed head still has the power to raise a belly laugh).

Toole also has a lot to say about class, using accent as a shorthand for character (and mostly getting away with it), as she explores the push/pull between hometown, family and the so-called glamour of a capital city where Kit and an invisible army of waiting and retail staff oil the wealthy’s passage through their days. Slay is particularly successful at balancing all this darkness with light. That’s important, because when things tip into revenge-fantasy-come-true territory, the audience needs to stay firmly on Kit’s side; because we’ve spent an hour sharing laughs of recognition, we’re first in line for bodyhiding duties. In fact, whatever this brave, brittle and brilliant wee lassie does next, we all want to be on her speed dial. Toole is making noises in the industry. Grab this chance to see her while you can, not just because she’s got Netflix Writing Deal stamped all over her, but because this is the kind of show that will stay with you, make you laugh and remind you that theatre can be accessible, enjoyable and weighty, all at the same time. Slay, Gilded Balloon Teviot, until 31 August, 3pm. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 103

PICTURES: STEVE ULLATHORNE

e• t

a he t r 5 STARS

‘ONE OF THE MOST VISIONARY CHOREOGRAPHERS WORKING TODAY’ THE GUARDIAN ON SIDI LARBI CHERKAOUI

IHSANE

BALLET DU GRAND THÉÂTRE DE GENÈVE / EASTMAN SIDI LARBI CHERKAOUI

104 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

FESTIVAL THEATRE 18–20 AUG | AD CAP 20 AUG BOOK NOW | EIF.CO.UK Supported by Flure Grossart

THEATRE

The tagline of Common Tongue states that it is ‘a play aboot imperfect Scots’. From the well-deserved standing ovation at the finale, there’s no feeling of any imperfection regarding Scots, Scotland itself or the absolute belter of a performance from lead performer Olivia Caw. Expertly written and directed by Fraser Scott, a simple ‘orite?’ starts proceedings; Caw’s wonderfully familiar Glasgow accent and a set covered entirely in tartan instantly puts the whole room at ease. The following 70 minutes are a whirlwind of emotions. For the audience, there are genuine tears, uproarious laughter and possibly the single loudest bit of swearing you’ll hear this August. The one-hander celebrates our unique language and identity in such a profound way that the crowd leave with a huge sense of pride, cementing Common Tongue as a memorable piece of Scottish theatre. (James Macfarlane) n Scottish Storytelling Centre, until 31 August, 2.45pm.

PICTURE: PETER DIDBIN

COMMON TONGUE lllll

WATER COLOUR lllll

PICTURE: TOMMY GA-KEN WAN

Despite solid performances and an ambition to tackle a vital contemporary concern, Water Colour offers a trite depiction of trauma and therapy, in which suspect metaphysics resolves anguish through coincidence, struggling to rise above sentimentality and superficial characterisation. An art student suffers from anxiety, but when her mother shows up, she turns her life around. A cheerful lad rescues her from attempted suicide, only to apparently take on her trauma. Fortunately, his descent into mental distress, expressed through the magic of breakdancing, is redeemed when he later sees a mural by the artist that proves she has survived. Their parallel stories suggest that despair and depression can be defeated swiftly, but the straight-foward dramaturgy emphasises a lack of nuance in the script. The two-person cast ably switch roles but the lack of connection between the protagonists wastes the play’s suggestion that such a bond cures mental distress. While exploring mental health is admirable, Water Colour provides more plot than analysis, suggesting solutions that are simplistic and not justified by a meandering and sanitised description of Glasgow life. (Gareth K Vile) n Traverse Theatre, until 30 August, times vary.

11½ ANGRY MEN lllll Back in 2003, Guy Masterson’s take on classic courtroom drama 12 Angry Men was a smash at the Fringe, with a roster of comedians showing off their serious acting skills. Now it’s been turned into a spoof, directed again by Masterson and written by original cast member Owen O’Neill, once more featuring a line-up stuffed to the gills with comedy talent (among them Tom Stade, Phil Nichol, Stephen K Amos, Spencer Jones). Making it a parody must have seemed like a top-notch idea: turns out that just because you can, doesn’t mean you should. It’s 1950s New York, a boy faces the electric chair for murdering his father (with a German sausage) and our jurors are caged in a sweaty room, deciding his fate. The ‘half’ man of the title is Juror 8, so named because (that’s right) he’s small. Not all comedians are adept actors and this 12-strong ensemble proves to be less than the sum of its parts. Weak delivery leaves lines lost in the mix, but to be fair, they’re ill-served by a script that barely registers more than a few titters in its first hour. Only the last 20 minutes flicker into some semblance of life, with sparky work by Nichol and an unhinged, grandstanding speech from Glenn Wool. Ian Coppinger, as the vertically challenged juror, does a fine job throughout trying to anchor the whole shebang. But this sluggish show fails to gel and, beyond any reasonable doubt, is a waste of great comedic talent. (Paul McLean) n Pleasance EICC, until 22 August, 2.30pm.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 105

The World The World Premiere Premiere of: of:

THE LADY DOTH PROTEST “FAST ” “FAST”



‘LEAVES ITS AUDIENCE BLOWN AWAY... DEFINITELY NOT FOR THE FAINT-HEARTED’ EDINBURGH EVENING NEWS

“PHYSICAL” “PHYSICAL” “SHARPLY “SHARPLY FUNNY”” FUNNY SCAN CODE SCAN CODE TICS! BUY TICS BUY TICS! !

A B l a c k C o m e dy trainspottinglive.com

06 - 30 Aug 18.30 & 20.45 Except 9, 16 & 30 Aug 17:00 & 19.15 (not 12, 19, 24)

THE TRUE STORY OF THE HOLOCAUST SURVIVOR & NAZI HUNTER

‘IMMACULATELY CONSTRUCTED’ BROADWAY BABY

THE SCOTSMAN

13:15 DINING ROOM 6 - 30 AUG (NOT 12, 19, 26)

106 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

22-24 George 22-24 George Street Street 11:20am 08|17 11:20am 08|17 -- 08|29 08|29 www.theladydothprotest.com www.theladydothprotest.com

PICTURE: GIULIA FERRANDO

PROPHETS lllll

THEATRE

Jack MacGregor is an up-and-coming playwright from Inverness, notable for works that reach well beyond the bounds of the domestic and familiar. Their award-winning Fringe play Everything Under the Sun depicted a peacekeeping mission in Mali while the recent Our Brother was set in Cambodia at the time of the Khmer Rouge. MacGregor’s latest takes place on a rocky outcrop in the Pacific, a British Overseas Territory called Saint John, with a population of 48. The protagonist is Kerris (Rebecca Wilkie), a paleo-climatologist, researching ancient weather patterns. She’s welcomed to the island by Joe (Xander Cowan), an eager if troubled young man who gathers fish by day and worships zealously in the local church at night. If Joe is clearly harbouring secrets, Kerris, with her persistent interest in rumours of a local religious cult and their practices, is also not who she claims to be. It’s an intriguing premise with all the hallmarks of a good-quality thriller. With a little more room to breathe, this would make an exceptionally compelling piece of theatre or a gripping TV series. Yet, in the context of an hour-long Fringe show, Kerris’ investigation feels truncated, while the atmosphere created in Fraser Scott’s production is oppressive rather than open to the elements (and not just because of the venue’s warmth). It would be interesting to see the show return in an expanded version with the same cast: both actors give moving performances as a pair of lost souls with a shot at redemption. (Allan Radcliffe) n Assembly Roxy, until 31 August, 5.45pm.

CONFESSIONS OF A MULATTO LOVE CHILD lllll

PICTURE: BEN BODE

Bellina Logan’s one-woman show is a funny, tender and heartbreaking tribute to her mother. Averil is a formidable presence: a fierce English woman with a razor-sharp tongue, a complicated past and the inability to remain in one place. With only a chair and considerable storytelling talent, Logan takes us through a childhood of constant house moves, stories of her mother’s life and navigating her mixed-race identity. Bellina grows up being told by Averil to ‘remember your life’. That instruction takes on a devastating new significance when Averil shows signs of Alzheimer’s. As appointments are forgotten and memories disappear, their roles gradually reverse with Bellina becoming her mother’s carer and keeper of her history. By the end, Averil has been drawn so vividly through stories, impressions and countless eccentricities, that you leave feeling you almost knew her yourself. When Bellina loses her, somehow you feel that loss too. (Robyn Bell) n Zoo Southside, until 30 August, 10.10am.

TRUTHMACHINE lllll

PICTURE: YAYA STEMPLER

Welcome to the interrogation chamber. In an era drowning in post-truth cynicism, Counterpilot’s Truthmachine drags a group of test subjects into a darkly lit, hi-tech crucible to measure the ultimate currency: honesty. Created by Nathan Sibthorpe, this immersive 30-minute experiment equips participants with headphones, sleek LED dials and a dossier of classified instructions. After a battery of preliminary queries calibrates the room’s nervous tension, one unfortuitous participant is selected for the hot seat. Strapped into a polygraph measuring biofeedback, they are grilled on (very) intimate affairs while the rest of us play human lie detectors. The goal? Well, that’s where it gets clouded. Technically, the production is a marvel. The orchestration of soundscapes, software and sinister aesthetic cues creates a claustrophobic, techno-dystopian atmosphere. While the experience relies heavily on the central subject’s willingness to play along, a sharp, unsettling narrative twist attempts to dismantle the illusion of objective reality; and here, as Sibthorpe pushes the existential scope, is the moment the show might lose folk. Immersive Fringe theatre often struggles to bridge technical gimmicks with substance, but this unsettling trial wholly succeeds. It leaves you questioning not just the data or politicians, but the secrets of the stranger sitting beside you. (Dominic Corr) n C Alto, until 30 August, times vary. list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 107

MORE THAN SHOWS – EXPERIENCES THAT BRING US TOGETHER

MANDY

// SUMMERHALL Main Hall

// SUMMERHALL Dissection Room

GOOD ENOUGH?

Prince of Darkness

LAUGHING OUT LONELY

(LOL)

danishedfringe.com

// ZOO Main House

M.I.S.

// SUMMERHALL Anatomy Lecture Theatre

OUR OTHER ORGAN

ALL NIGHT LONG

Peter Mandelson... in his own words

EMBASSY OF DENMARK London

Lindsey Barlag Thornton

108 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

FLIGHTS FOR FUTURE GENERATIONS

THEATRE

HIGHLIGHTS

THE READINGS Charles Dickens’ relationship with Edinburgh goes way back, obviously, and here a different performer each day will take on some of his words. Among those confirmed so far include Ahir Shah (pictured), Bebe Cave, Gail Porter and Frank Skinner.  Assembly George Square Studios, until 30 August, 2.50pm.

THEATRE

NOTES FROM A NARCISSISTIC NEGRO AND

DICKENS:

OTHER N WORDS This award-scooping one-woman autobiographical piece from Elizabeth June is a trawl through some very dark material (childhood sexual abuse and serious health issues) using storytelling, spoken word, music and stand-up.  Paradise In The Vault, 17–22 August, 4.45pm.

THE PAINTED REVOLUTIONARY In this satire, abstractions at the heart of every political argument are reimagined as people. These characters (such as Struggle, Order and Revolution) represent the beliefs and ideologies which lead people to decide what’s worth fighting for.  Space Surgeons’ Hall, until 15 August, 7.25pm.

THE SPY NETWORK Shooting Fish presents this look at Mary, Queen Of Scots’ final hours as she engages with an actor assigned to offer some succour through entertainment before the end. Mary uses this moment to try and set the record straight.  Greenside Riddles Court, 17–29 August, 1.50pm.

LANDSFRAU

BILLIE AND THE BIG TURN ON This immersive, interactive theatrical experience blends live music, comedy, dance and audience interplay (dive to the back and you might get lucky) as Billie transforms into Sniffany, a ‘scent-sational’ super cycling hero.  The Royal Scots Club, until 21 August, times vary.

MRS STERN WANDERS THE PRUSSIAN STATE LIBRARY

Performed by Mariann Yar, the Doris Crea Collective explores one woman’s story of leaving Kabul as the Taliban returned to power and examines how she navigates the gentle guilt of being safe and alive in a different country.  Summerhall, until 31 August, 2.50pm.

Inspired by the arrest of Hannah Arendt (the banality of evil and so on), this Off-Broadway hit about a Gestapo officer’s dealings with a philosophy graduate arrives at the Fringe and provides a timely investigation into human connection.  Traverse Theatre, until 30 August, times vary.

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 109

FRONT BACK

PICTURE: MIKEY PRINE

1 2

PICTURE: CORINNE CUMMING

1 2 3

festival hot shots He may have had his issues, but Charlie Chaplin evokes a child-like innocence whenever he comes on screen. Marcel Cole taps into this with a reprise of List Festival Award-winning piece, the delightful Smile (Pleasance Dome, until 31 August). Sophie Duker is ‘back on her bullshit’ (her words, very much not ours) with Hot Beef Injection (Pleasance Courtyard, until 30 August), a meaty hour about sex and privilege. The title will be instantly recognisable to fans of cult 80s teen flick The Breakfast Club. In EIFF affair I Want Your Sex (various cinemas, 17–19 August), Olivia Wilde portrays a very different human to the one she played in The Invite. Here she is domineering and hyper confident as an art gallery boss with some serious kinks. Director Gregg Araki lays it all out there.

110 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival

list.co.uk/edinburgh-festival | 12–19 August 2026 | THE LIST FESTIVAL 111

112 THE LIST FESTIVAL | 12–19 August 2026 | list.co.uk/edinburgh-festival